1 00:00:04,838 --> 00:00:06,539 GOOD MORNING, EVERYONE. 2 00:00:06,606 --> 00:00:31,531 IT'S 9:00 A.M. 3 00:00:31,598 --> 00:00:32,432 THE NATIONAL ENDOWMENT FOR THE 4 00:00:32,499 --> 00:00:34,100 ARTS, THE RENEE FLEMING 5 00:00:34,167 --> 00:00:36,069 FOUNDATION, AND THE JOHN F. 6 00:00:36,136 --> 00:00:38,338 KENNEDY CENTER FOR THE 7 00:00:38,405 --> 00:00:38,872 PERFORMING ARTS. 8 00:00:38,938 --> 00:00:44,144 I WANT TO WELCOME YOU TO DAY ONE 9 00:00:44,210 --> 00:00:47,113 OF MUSIC AS MEDICINE, THE 10 00:00:47,180 --> 00:00:48,181 SCIENCE AND CLINICAL PRACTICE. 11 00:00:48,248 --> 00:00:51,985 WE'RE PLEASED TO HAVE MANY 12 00:00:52,051 --> 00:00:53,520 VIEWERS JOINING US ON NIH 13 00:00:53,586 --> 00:00:53,953 VIDEOCAST TODAY. 14 00:00:54,020 --> 00:00:55,388 I WANT TO REMIND EVERYONE THAT 15 00:00:55,455 --> 00:00:57,123 THE DIGITAL PROGRAM BOOK, WHICH 16 00:00:57,190 --> 00:00:59,359 CONTAINS THE FULL AGENDA, B IOS 17 00:00:59,426 --> 00:01:00,493 FOR PARTICIPANTS, ABSTRACTS FOR 18 00:01:00,560 --> 00:01:02,929 THE TALKS, IS AVAILABLE TO 19 00:01:02,996 --> 00:01:03,830 EVERYONE ONLINE. 20 00:01:03,897 --> 00:01:07,634 WE HAVE A QR CODE HERE, AS YOU 21 00:01:07,700 --> 00:01:08,735 CAN SEE ON THE SCREEN, IF YOU'RE 22 00:01:08,802 --> 00:01:09,969 IN THE ROOM, OR YOU SHOULD BE 23 00:01:10,036 --> 00:01:11,604 ABLE TO ACCESS THAT FOR THOSE 24 00:01:11,671 --> 00:01:14,641 VIEWING AT HOME. 25 00:01:14,707 --> 00:01:19,479 NOW, WE ARE GOING TO BEGIN TODAY 26 00:01:19,546 --> 00:01:19,979 WITH -- LET ME SEE. 27 00:01:20,046 --> 00:01:21,614 I NEED TO CHECK TO SEE IF OUR 28 00:01:21,681 --> 00:01:22,315 FIRST SPEAKER IS HERE. 29 00:01:22,382 --> 00:01:27,454 SHE IS NOT HERE. 30 00:01:27,520 --> 00:01:28,388 SO UNFORTUNATELY, I THINK WE'RE 31 00:01:28,455 --> 00:01:29,956 GOING TO NEED TO MOVE TO OUR 32 00:01:30,023 --> 00:01:32,792 NEXT SPEAKER? 33 00:01:32,859 --> 00:01:35,628 YES. 34 00:01:35,695 --> 00:01:36,763 DR. LANGEVIN, IS DR. LANGEVIN IN 35 00:01:36,830 --> 00:01:38,164 THE ROOM? 36 00:01:38,231 --> 00:01:39,966 WE'RE GOING TO MOVE TO OUR 37 00:01:40,033 --> 00:01:41,668 SECOND SPEAKER FOR THE DAY. 38 00:01:41,734 --> 00:01:44,170 IT'S GOING TO BE DR. HELENE 39 00:01:44,237 --> 00:01:44,938 LANGEVIN. 40 00:01:45,004 --> 00:01:46,172 OUR FIRST SPEAKER, WE WILL 41 00:01:46,239 --> 00:01:47,574 ACCOMMODATE HER AS SOON AS SHE 42 00:01:47,640 --> 00:01:47,907 ARRIVES. 43 00:01:47,974 --> 00:01:49,375 I THINK SHE'S CAUGHT IN TRAFFIC, 44 00:01:49,442 --> 00:01:50,510 WHICH FOR THOSE OF YOU WHO LOVE 45 00:01:50,577 --> 00:01:52,479 D.C. , YOU KNOW THIS IS A THING. 46 00:01:52,545 --> 00:01:54,681 SO WE'RE GOING TO BEGIN OUR 47 00:01:54,747 --> 00:01:58,518 WORKSHOP NOW WITH DR. HELENE 48 00:01:58,585 --> 00:02:00,153 LANGEVIN, DIRECTOR OF THE 49 00:02:00,220 --> 00:02:00,587 NATIONAL CENTER FOR 50 00:02:00,653 --> 00:02:01,554 COMPLEMENTARY AND INTEGRATIVE 51 00:02:01,621 --> 00:02:02,922 HEALTH, WHO'S GOING TO OFFER 52 00:02:02,989 --> 00:02:05,291 OPENING REMARKS, AND THEN SHE 53 00:02:05,358 --> 00:02:06,793 WILL INTRODUCE OUR KEYNOTE 54 00:02:06,860 --> 00:02:08,995 SPEAKER, DR. FRANCIS COLLINS. 55 00:02:09,062 --> 00:02:09,996 DR. LANGEVIN. 56 00:02:10,063 --> 00:02:13,500 PLEASE TAKE IT AWAY. 57 00:02:13,566 --> 00:02:20,073 [APPLAUSE] 58 00:02:20,139 --> 00:02:21,140 >> WELL, THANK YOU. 59 00:02:21,207 --> 00:02:23,443 IT IS SUCH A DELIGHT TO BE HERE, 60 00:02:23,510 --> 00:02:26,846 AND TO TALK A LITTLE BIT ABOUT 61 00:02:26,913 --> 00:02:30,550 MUSIC, WHICH HAS LONG BEEN SUCH 62 00:02:30,617 --> 00:02:33,620 AN ESSENTIAL, EVEN PRIMAL PART 63 00:02:33,686 --> 00:02:34,821 OF HUMAN EXISTENCE. 64 00:02:34,888 --> 00:02:35,788 IT'S AMAZING TO THINK THAT SOME 65 00:02:35,855 --> 00:02:39,058 OF THE EARLIEST PREHISTORICAL 66 00:02:39,125 --> 00:02:42,896 ARTIFACTS FROM OVER 40,000 YEARS 67 00:02:42,962 --> 00:02:44,430 AGO WERE MUSICAL INSTRUMENTS. 68 00:02:44,497 --> 00:02:47,267 AND MUSIC IS SO INTIMATELY 69 00:02:47,333 --> 00:02:49,068 CONNECTED TO SOME OF THE 70 00:02:49,135 --> 00:02:51,871 UNIQUELY HUMAN ASPECTS OF 71 00:02:51,938 --> 00:02:53,172 IMAGINATION AND COMMUNICATION 72 00:02:53,239 --> 00:02:54,173 THROUGHOUT THE AGES. 73 00:02:54,240 --> 00:02:58,778 SO FURTHERMORE, MOVING TO MUSIC, 74 00:02:58,845 --> 00:02:59,746 DANCING, FOR EXAMPLE, HAS BEEN 75 00:02:59,812 --> 00:03:02,382 PART OF HUMAN SOCIETY FOR 76 00:03:02,448 --> 00:03:02,815 MILLENNIA. 77 00:03:02,882 --> 00:03:04,584 AND IT'S NOT SURPRISING THAT AS 78 00:03:04,651 --> 00:03:05,852 WE'RE LEARNING, MUSIC HAS 79 00:03:05,919 --> 00:03:08,621 IMPORTANT ROLES TO PLAY IN 80 00:03:08,688 --> 00:03:11,224 PHYSICAL AND MENTAL HEALTH. 81 00:03:11,291 --> 00:03:14,394 SO WE'RE AT SUCH AN EXCITING 82 00:03:14,460 --> 00:03:15,662 TIME IN THE HISTORY OF MEDICINE 83 00:03:15,728 --> 00:03:17,063 RIGHT NOW. 84 00:03:17,130 --> 00:03:18,765 WHILE WE'VE MADE REMARKABLE 85 00:03:18,831 --> 00:03:20,433 PROGRESS DURING THE 20TH CENTURY 86 00:03:20,500 --> 00:03:22,035 IN DEVELOPING PHARMACOLOGICAL 87 00:03:22,101 --> 00:03:23,703 THERAPIES FOR A WIDE VARIETY OF 88 00:03:23,770 --> 00:03:26,406 DISEASES, THE FIRST TWO DECADES 89 00:03:26,472 --> 00:03:28,741 OF THE 21ST CENTURY HAS BEEN 90 00:03:28,808 --> 00:03:31,678 MARKED BY AN EXPANSION OF OUR 91 00:03:31,744 --> 00:03:33,446 REPERTOIRE IN RESEARCH ON VERY 92 00:03:33,513 --> 00:03:35,415 DIFFERENT KINDS OF TREATMENTS. 93 00:03:35,481 --> 00:03:38,251 GENE THERAPIES, FOR EXAMPLE. 94 00:03:38,318 --> 00:03:41,120 MOBILE HEALTH ASSISTIVE 95 00:03:41,187 --> 00:03:42,855 TECHNOLOGIES AND A VARIETY OF 96 00:03:42,922 --> 00:03:44,190 NUTRITIONAL, PSYCHOLOGICAL, AND 97 00:03:44,257 --> 00:03:46,893 PHYSICAL APPROACHES THAT ARE 98 00:03:46,960 --> 00:03:48,861 GRADUALLY BEING INTEGRATED INTO 99 00:03:48,928 --> 00:03:53,232 MAINSTREAM HEALTHCARE. 100 00:03:53,299 --> 00:03:55,401 GROWING THE EVIDENCE BASE ON 101 00:03:55,468 --> 00:03:56,869 NON-PHARMACOLOGICAL TREATMENTS 102 00:03:56,936 --> 00:03:59,038 FIRST REQUIRES AN UNDERSTANDING 103 00:03:59,105 --> 00:04:01,541 OF HOW TO DO THIS KIND OF 104 00:04:01,608 --> 00:04:02,442 RESEARCH. 105 00:04:02,508 --> 00:04:03,543 AND WHAT TYPES OF MEASUREMENTS 106 00:04:03,610 --> 00:04:07,246 SHOULD BE COLLECTED TO ASSESS 107 00:04:07,313 --> 00:04:10,116 THE OUTCOMES OF THIS RESEARCH. 108 00:04:10,183 --> 00:04:12,251 SOME FORMS OF MUSIC THERAPY SUCH 109 00:04:12,318 --> 00:04:14,420 AT MUSIC ASSISTED RELAXATION, 110 00:04:14,487 --> 00:04:16,623 FOR EXAMPLE, MAY PRIMARILY 111 00:04:16,689 --> 00:04:18,391 TARGET SENSORY AND EMOTIONAL 112 00:04:18,458 --> 00:04:21,461 PROCESSING REGIONS OF THE BRAIN. 113 00:04:21,527 --> 00:04:23,296 OTHER FORMS OF MUSIC-BASED 114 00:04:23,363 --> 00:04:24,931 THERAPIES MAY BE MORE COMPLEX 115 00:04:24,998 --> 00:04:27,266 AND SIMULTANEOUSLY ENGAGE OTHER 116 00:04:27,333 --> 00:04:28,668 MODALITIES, INCLUDING MOVEMENT 117 00:04:28,735 --> 00:04:31,638 AND COGNITION. 118 00:04:31,704 --> 00:04:32,939 SUCH THERAPIES INCLUDE ACTIVE 119 00:04:33,006 --> 00:04:37,944 SINGING OR PERFORMING MUSIC, 120 00:04:38,011 --> 00:04:39,045 IMPROVIZATIONAL MUSIC, COMPOSING 121 00:04:39,112 --> 00:04:41,014 ONE'S OWN MUSIC, AND DANCE AS 122 00:04:41,080 --> 00:04:42,715 THE INDIVIDUALS ACTUALLY ENGAGE 123 00:04:42,782 --> 00:04:45,952 IN THE ARTISTIC PROCESS. 124 00:04:46,019 --> 00:04:47,053 THERE ARE ALSO THE COMPONENTS OF 125 00:04:47,120 --> 00:04:50,323 THE MUSIC ITSELF, SUCH AS 126 00:04:50,390 --> 00:04:52,425 FREQUENCY, TEMPO, MELODY, AND 127 00:04:52,492 --> 00:04:53,826 THE VOLUME AT WHICH THE MUSIC IS 128 00:04:53,893 --> 00:04:57,030 PLAYED. 129 00:04:57,096 --> 00:04:58,564 ALL THESE FACTORS NEED TO BE 130 00:04:58,631 --> 00:05:00,500 UNDERSTOOD AND RECOGNIZED WHEN 131 00:05:00,566 --> 00:05:02,135 STUDYING AND IMPLEMENTING 132 00:05:02,201 --> 00:05:05,138 MUSIC-BASED THERAPIES. 133 00:05:05,204 --> 00:05:07,173 THE SYMPTOMS OF MANY CURRENT 134 00:05:07,240 --> 00:05:10,109 HEALTH CHALLENGES, FOR EXAMPLE, 135 00:05:10,176 --> 00:05:13,179 AUTISM, CHRONIC PAIN, STROKE, 136 00:05:13,246 --> 00:05:16,349 CANCER, AND CANCER TREATMENTS, 137 00:05:16,416 --> 00:05:17,350 AND ALZHEIMER'S DISEASE HAVE 138 00:05:17,417 --> 00:05:19,419 REMAINED VERY DIFFICULT TO 139 00:05:19,485 --> 00:05:21,054 MANAGE, EVEN WITH THE MANY 140 00:05:21,120 --> 00:05:23,389 POWERFUL TOOLS THAT WE HAVE IN 141 00:05:23,456 --> 00:05:25,892 OUR MEDICAL ARMAMENTARIUM. 142 00:05:25,958 --> 00:05:27,493 AND MENTAL AND EMOTIONAL HEALTH 143 00:05:27,560 --> 00:05:30,163 CONDITIONS SUCH AS DEPRESSION, 144 00:05:30,229 --> 00:05:33,099 STRESS, ANXIETY, CAN COEXIST 145 00:05:33,166 --> 00:05:36,602 WITH CHRONIC DISEASES OR POSE 146 00:05:36,669 --> 00:05:37,937 CHALLENGES ALL OF THEIR OWN. 147 00:05:38,004 --> 00:05:39,639 THESE DISORDERS OFTEN EXIST 148 00:05:39,706 --> 00:05:42,175 WITHIN A BROADER SOCIAL 149 00:05:42,241 --> 00:05:45,044 FRAMEWORK THAT CAN AND SHOULD 150 00:05:45,111 --> 00:05:47,480 OFFER MORE TO IMPROVE PEOPLE'S 151 00:05:47,547 --> 00:05:50,616 HEALTH AND THEIR WELL-BEING. 152 00:05:50,683 --> 00:05:52,251 AT THE NATIONAL CENTER FOR 153 00:05:52,318 --> 00:05:53,986 COMPLEMENTARY AND INTEGRATIVE 154 00:05:54,053 --> 00:05:58,558 HEALTH, OR NCCIH, THE ROLE OF 155 00:05:58,624 --> 00:05:59,726 MUSIC IN HEALTH IS AN INTEGRAL 156 00:05:59,792 --> 00:06:01,994 PART OF WHAT WE CALL WHOLE 157 00:06:02,061 --> 00:06:04,697 PERSON HEALTH. 158 00:06:04,764 --> 00:06:07,333 WE VIEW HEALTH AS A 159 00:06:07,400 --> 00:06:09,969 BIDIRECTIONAL CONTINUUM, WHERE 160 00:06:10,036 --> 00:06:12,805 MULTIPLE INTERACTING FACTORS CAN 161 00:06:12,872 --> 00:06:14,340 MOVE SOMEONE EITHER TOWARD 162 00:06:14,407 --> 00:06:18,044 HEALTH OR AWAY FROM IT. 163 00:06:18,111 --> 00:06:20,246 BY EMPOWERING INDIVIDUALS, 164 00:06:20,313 --> 00:06:22,849 FAMILIES, COMMUNITIES, AND 165 00:06:22,915 --> 00:06:24,517 POPULATIONS TO IMPROVE THEIR 166 00:06:24,584 --> 00:06:26,486 HEALTH IN MULTIPLE 167 00:06:26,552 --> 00:06:30,857 INTERCONNECTED DOMAINS. 168 00:06:30,923 --> 00:06:31,824 BIOLOGICAL, BEHAVIORAL, SOCIAL 169 00:06:31,891 --> 00:06:35,995 AND ENVIRONMENTAL. 170 00:06:36,062 --> 00:06:37,330 PEOPLE CAN ACHIEVE THEIR BEST 171 00:06:37,396 --> 00:06:37,864 POSSIBLE HEALTH. 172 00:06:37,930 --> 00:06:40,032 RESEARCH ON MUSIC FOR HEALTH 173 00:06:40,099 --> 00:06:41,901 FITS INTO NCCIH'S MISSION 174 00:06:41,968 --> 00:06:44,103 BECAUSE IT IS RELEVANT TO OUR 175 00:06:44,170 --> 00:06:45,838 CENTER'S RESEARCH PRIORITIES, 176 00:06:45,905 --> 00:06:49,642 INCLUDING HEALTH PROMOTION, AND 177 00:06:49,709 --> 00:06:51,077 RESTORATION, DISEASE PREVENTION, 178 00:06:51,144 --> 00:06:52,445 AND SYMPTOM MANAGEMENT. 179 00:06:52,512 --> 00:06:55,848 IN ADDITION, LIKE MANY OF THE 180 00:06:55,915 --> 00:06:57,984 OTHER APPROACHES WE STUDY, 181 00:06:58,050 --> 00:07:00,686 ARTS-BASED INTERVENTIONS SUCH AS 182 00:07:00,753 --> 00:07:02,121 MUSIC MAY HELP DECREASE THE NEED 183 00:07:02,188 --> 00:07:03,990 FOR DRUGS OR OTHER TREATMENTS 184 00:07:04,056 --> 00:07:04,557 THAT CAN HAVE SERIOUS SIDE 185 00:07:04,624 --> 00:07:08,494 EFFECTS. 186 00:07:08,561 --> 00:07:11,764 INTEGRATIVE HEALTH BRINS BRINGS 187 00:07:11,831 --> 00:07:13,065 CONVENTIONAL AND COMPLEMENTARY 188 00:07:13,132 --> 00:07:15,268 APPROACHES SUCH AS MUSIC AND 189 00:07:15,334 --> 00:07:16,135 ARTS-BASED THERAPIES TOGETHER IN 190 00:07:16,202 --> 00:07:18,538 A COORDINATED WAY AND EMPHASIZES 191 00:07:18,604 --> 00:07:19,572 TREATING THE WHOLE PERSON TO 192 00:07:19,639 --> 00:07:22,341 IMPROVE PATIENT OUTCOMES AND 193 00:07:22,408 --> 00:07:24,143 ENHANCE HEALTH AND WELL-BEING 194 00:07:24,210 --> 00:07:28,581 ACROSS THE LIFESPAN. 195 00:07:28,648 --> 00:07:31,117 IT'S NOW MY GREAT PLEASURE TO 196 00:07:31,184 --> 00:07:33,986 INTRODUCE DR. FRANCIS COLLINS. 197 00:07:34,053 --> 00:07:39,659 DR. COLLINS LED NIH FROM 2009 TO 198 00:07:39,725 --> 00:07:40,860 2021 THROUGH AN IMPORTANT PERIOD 199 00:07:40,927 --> 00:07:43,362 OF GROWTH AND ONE OF THE MANY 200 00:07:43,429 --> 00:07:45,131 INITIATIVES AND EFFORTS HE 201 00:07:45,198 --> 00:07:46,899 HELPED ESTABLISH DURING HIS 202 00:07:46,966 --> 00:07:49,502 TENURE WAS THE SOUND HEALTH 203 00:07:49,569 --> 00:07:51,003 INITIATIVE. 204 00:07:51,070 --> 00:07:53,873 SOUND HEALTH WAS BORN FROM AN 205 00:07:53,940 --> 00:07:54,774 ENCOUNTER AND CONVERSATION 206 00:07:54,841 --> 00:07:58,477 BETWEEN DR. COLLINS AND MISS 207 00:07:58,544 --> 00:08:01,180 RENEE FLEMING AND IS ROOTED IN 208 00:08:01,247 --> 00:08:03,382 THEIR SHARED PASSION FOR MUSIC. 209 00:08:03,449 --> 00:08:04,784 THIS INITIATIVE IS NOW A 210 00:08:04,851 --> 00:08:08,287 PARTNERSHIP OF THE NIH, THE 211 00:08:08,354 --> 00:08:10,056 NATIONAL ENDOWMENT FOR THE ARTS, 212 00:08:10,122 --> 00:08:11,891 THE KENNEDY CENTER, AND THE 213 00:08:11,958 --> 00:08:15,428 RENEE FLEMING FOUNDATION. 214 00:08:15,494 --> 00:08:16,395 IT EMBODIES THE SHARED INTEREST 215 00:08:16,462 --> 00:08:19,899 OF THESE PARTNERS FOR THE ARTS, 216 00:08:19,966 --> 00:08:21,901 PARTICULARLY MUSIC AND THEIR 217 00:08:21,968 --> 00:08:24,036 POTENTIAL TO PLAY A SIGNIFICANT 218 00:08:24,103 --> 00:08:26,806 ROLE IN HEALTH. 219 00:08:26,873 --> 00:08:27,807 NOW MANY THINGS HAVE HAPPENED 220 00:08:27,874 --> 00:08:29,542 SINCE THE START OF THIS 221 00:08:29,609 --> 00:08:32,044 INITIATIVE, INCLUDING THE COVID 222 00:08:32,111 --> 00:08:34,347 PANDEMIC, BUT DR. COLLINS' 223 00:08:34,413 --> 00:08:35,748 SUPPORT FOR THIS INITIATIVE HAS 224 00:08:35,815 --> 00:08:38,718 REMAINED STEADFAST. 225 00:08:38,784 --> 00:08:40,453 EVEN AFTER HE STEPPED DOWN AS 226 00:08:40,519 --> 00:08:42,088 NIH DIRECTOR IN 2021, RETURNING 227 00:08:42,154 --> 00:08:45,057 TO HIS ROOTS IN GENETICS 228 00:08:45,124 --> 00:08:47,894 RESEARCH TO LEAD HIS RESEARCH 229 00:08:47,960 --> 00:08:49,795 LAB AT THE NHGRI AND TAKING ON 230 00:08:49,862 --> 00:08:53,432 THE DUTIES OF SCIENCE ADVISOR TO 231 00:08:53,499 --> 00:08:55,234 THE PRESIDENT AND CO-CHAIR OF 232 00:08:55,301 --> 00:08:57,336 THE PRESIDENT'S COUNCIL OF 233 00:08:57,403 --> 00:08:59,805 ADVISERS ON SCIENCE AND 234 00:08:59,872 --> 00:09:01,007 TECHNOLOGY, HE HAS STAYED 235 00:09:01,073 --> 00:09:02,875 CONNECTED AND PASSIONATE ABOUT 236 00:09:02,942 --> 00:09:07,914 MUSIC AS MEDICINE. 237 00:09:07,980 --> 00:09:10,016 THERE ARE MANY OF DR. COLLINS' 238 00:09:10,082 --> 00:09:11,417 ACHIEVEMENTS I COULD LIST TODAY, 239 00:09:11,484 --> 00:09:12,718 BUT I'LL GIVE A SPECIAL MENTION 240 00:09:12,785 --> 00:09:15,655 TO THE 2020 TEMPLETON PRIZE THAT 241 00:09:15,721 --> 00:09:18,991 DR. COLLINS RECEIVED. 242 00:09:19,058 --> 00:09:20,259 THIS PRIZE IS PRESENTED ANNUALLY 243 00:09:20,326 --> 00:09:22,895 TO AN INDIVIDUAL WHOSE 244 00:09:22,962 --> 00:09:24,430 ACHIEVEMENTS ADVANCE THE 245 00:09:24,497 --> 00:09:27,600 PHILANTHROPIC VISION OF SIR JOHN 246 00:09:27,667 --> 00:09:28,234 TEMPLETON. 247 00:09:28,301 --> 00:09:31,637 HARNESSING THE POWER OF THE 248 00:09:31,704 --> 00:09:33,372 SCIENCES TO EXPLORE THE DEEPEST 249 00:09:33,439 --> 00:09:37,109 QUESTIONS OF THE UNIVERSE AND 250 00:09:37,176 --> 00:09:38,644 HUMAN KIND'S PLACE AND PURPOSE 251 00:09:38,711 --> 00:09:39,779 WITHIN IT. 252 00:09:39,845 --> 00:09:42,949 IN MANY WAYS, I SEE FRANCIS' 253 00:09:43,015 --> 00:09:44,583 ONGOING COMMITMENT TO THE SOUND 254 00:09:44,650 --> 00:09:46,953 HEALTH INITIATIVE AS AN 255 00:09:47,019 --> 00:09:49,021 EXPRESSION OF TEMPLETON'S VISION 256 00:09:49,088 --> 00:09:52,959 AS THE WORK OF THE RESEARCHERS, 257 00:09:53,025 --> 00:09:55,194 PERFORMERS, AND INSTITUTIONS OF 258 00:09:55,261 --> 00:09:56,495 SOUND HEALTH ARE HARNESSING 259 00:09:56,562 --> 00:09:59,532 SCIENCE TO EXPLORE QUESTIONS AT 260 00:09:59,598 --> 00:10:02,168 THE INTERSECTION OF MUSIC, THE 261 00:10:02,234 --> 00:10:04,737 ARTS, AND THE HUMAN BODY, MIND, 262 00:10:04,804 --> 00:10:07,206 AND SPIRIT. 263 00:10:07,273 --> 00:10:09,342 SO IT IS MY HONOR TO TURN THE 264 00:10:09,408 --> 00:10:11,744 MICROPHONE OVER TO DR. COLLINS. 265 00:10:11,811 --> 00:10:19,885 [APPLAUSE] 266 00:10:19,952 --> 00:10:23,155 >> THANK YOU, HELENE, FOR THAT 267 00:10:23,222 --> 00:10:24,156 INCREDIBLY GENEROUS 268 00:10:24,223 --> 00:10:25,391 INTRODUCTION, AND GOOD MORNING 269 00:10:25,458 --> 00:10:26,459 TO ALL OF YOU. 270 00:10:26,525 --> 00:10:28,394 DELIGHTED TO BE WITH YOU HERE AT 271 00:10:28,461 --> 00:10:32,999 AMP AT STRATHMORE FOR WHAT I 272 00:10:33,065 --> 00:10:34,333 THINK IS GOING TO BE A 273 00:10:34,400 --> 00:10:36,502 FASCINATING AND RATHER INTENSE 274 00:10:36,569 --> 00:10:38,137 TWO DAYS TO DIG INTO WHAT WE'VE 275 00:10:38,204 --> 00:10:40,039 ACCOMPLISHED SO FAR TO THIS 276 00:10:40,106 --> 00:10:42,308 TOPIC OF MUSIC AS MEDICINE AND 277 00:10:42,375 --> 00:10:43,676 WHAT WE CAN DO DOING FORWARD. 278 00:10:43,743 --> 00:10:45,444 WE HAVE THE BRAIN POWER AND THE 279 00:10:45,511 --> 00:10:46,345 EXPERIENCE AND THE VISION IN 280 00:10:46,412 --> 00:10:49,248 THIS ROOM, AND I GUESS ONLINE, 281 00:10:49,315 --> 00:10:50,049 ABOUT 3500 OTHER PEOPLE THAT WE 282 00:10:50,116 --> 00:10:51,250 OUGHT TO BE ABLE TO MAKE 283 00:10:51,317 --> 00:10:52,485 SOMETHING PRETTY EXCITING HAPPEN 284 00:10:52,551 --> 00:10:52,785 HERE. 285 00:10:52,852 --> 00:10:55,855 THAT IS FOR SURE. 286 00:10:55,921 --> 00:10:57,490 I'M HONORED TO SERVE AS YOUR 287 00:10:57,556 --> 00:10:58,491 CO-CHAIR ALONG WITH MY DEAR 288 00:10:58,557 --> 00:11:00,459 FRIEND AND WONDERFUL CONTRIBUTOR 289 00:11:00,526 --> 00:11:02,328 TO SOUND HEALTH FROM THE VERY 290 00:11:02,395 --> 00:11:04,497 BEGINNING SEVEN YEARS AGO, RENEE 291 00:11:04,563 --> 00:11:05,831 FLEMING, WHO YOU MAY NOT HAVE 292 00:11:05,898 --> 00:11:07,900 NOTICED BUT MAYBE YOU DID, WAS 293 00:11:07,967 --> 00:11:09,235 JUST HONORED BY THE KENNEDY 294 00:11:09,301 --> 00:11:11,537 CENTER WITH ONE OF THE HONORS 295 00:11:11,604 --> 00:11:13,572 JUST 10 DAYS AGO. 296 00:11:13,639 --> 00:11:13,806 RENEE! 297 00:11:13,873 --> 00:11:20,513 [APPLAUSE] 298 00:11:20,579 --> 00:11:22,782 AND A LITTLE ADVERTISEMENT, I 299 00:11:22,848 --> 00:11:24,550 KNOW DEB RUDDER IS HERE AS THE 300 00:11:24,617 --> 00:11:25,718 HEAD OF THE KENNEDY CENTER. 301 00:11:25,785 --> 00:11:27,586 THIS WILL BE SEEN ON PRIME TIME 302 00:11:27,653 --> 00:11:30,623 TELEVISION ON DECEMBER THE 27TH 303 00:11:30,689 --> 00:11:31,090 ON CBS. 304 00:11:31,157 --> 00:11:32,792 SO IF YOU WANT TO CHECK OUT ALL 305 00:11:32,858 --> 00:11:33,926 OF THE THINGS THAT HAPPENED FOR 306 00:11:33,993 --> 00:11:36,328 THAT CELEBRATION OF RENEE AND 307 00:11:36,395 --> 00:11:37,663 FOR OTHER PEOPLE, BY ALL MEANS, 308 00:11:37,730 --> 00:11:40,032 CHECK IT OUT. 309 00:11:40,099 --> 00:11:41,500 WELL, IT'S MY PRIVILEGE HERE TO 310 00:11:41,567 --> 00:11:44,103 BE ABLE TO START US OFF WITH A 311 00:11:44,170 --> 00:11:46,639 REFLECTION ABOUT EXACTLY WHAT IS 312 00:11:46,705 --> 00:11:47,940 THE NATURE OF WHAT WE'VE 313 00:11:48,007 --> 00:11:49,041 ACCOMPLISHED SO FAR. 314 00:11:49,108 --> 00:11:50,543 I'M SORT OF LOOKING BACK OVER 315 00:11:50,609 --> 00:11:52,445 THE LAST SEVEN YEARS WITH A 316 00:11:52,511 --> 00:11:53,612 LITTLE FORECASTING OF WHERE WE 317 00:11:53,679 --> 00:11:55,581 MIGHT GO NEXT, AND THEN WE WILL 318 00:11:55,648 --> 00:11:58,551 GET INTO IT IN THE SPACE OF 319 00:11:58,617 --> 00:11:59,952 THESE SIX SESSIONS, AND RENE 320 00:12:00,019 --> 00:12:00,953 WILL HAVE THE CHANCE TOMORROW 321 00:12:01,020 --> 00:12:02,521 ALSO TO BE THINKING MORE ABOUT 322 00:12:02,588 --> 00:12:03,255 THE FUTURE AND WHERE WE'RE 323 00:12:03,322 --> 00:12:03,456 GOING. 324 00:12:03,522 --> 00:12:06,158 WE KIND OF DIVIDED IT UP THAT 325 00:12:06,225 --> 00:12:09,562 WAY. 326 00:12:09,628 --> 00:12:10,563 WELL, IT'S ALWAYS GOOD TO START 327 00:12:10,629 --> 00:12:13,299 WITH A QUOTE, AND SPRINGSTEEN IS 328 00:12:13,365 --> 00:12:14,800 A PRETTY GOOD PLACE TO START. 329 00:12:14,867 --> 00:12:16,469 THE BEST MUSIC IS ESSENTIALLY 330 00:12:16,535 --> 00:12:17,870 THERE TO PROVIDE YOU WITH 331 00:12:17,937 --> 00:12:18,971 SOMETHING TO FACE THE WORLD 332 00:12:19,038 --> 00:12:19,505 WITH. 333 00:12:19,572 --> 00:12:20,706 WELL, OKAY. 334 00:12:20,773 --> 00:12:22,708 THAT'S I THINK WHAT WE'RE TRYING 335 00:12:22,775 --> 00:12:23,876 TO DO, FACE THE WORLD IN 336 00:12:23,943 --> 00:12:26,412 PARTICULAR WAYS TO TRY TO ASSIST 337 00:12:26,479 --> 00:12:28,247 IN ISSUES THAT RELATE TO HEALTH. 338 00:12:28,314 --> 00:12:29,248 AND THAT'S WHAT WE'RE GOING TO 339 00:12:29,315 --> 00:12:32,184 BE FOCUSING ON. 340 00:12:32,251 --> 00:12:34,186 SO YES, IT WAS NOW ALMOST SEVEN 341 00:12:34,253 --> 00:12:36,689 YEARS AGO THAT THE FIRST 342 00:12:36,755 --> 00:12:39,225 WORKSHOP GATHERED TO TRY TO SEE 343 00:12:39,291 --> 00:12:41,260 WHAT COULD WE DO IN THIS SPACE 344 00:12:41,327 --> 00:12:44,563 OF MUSIC AND THE BRAIN. 345 00:12:44,630 --> 00:12:46,632 AS YOU CAN SEE FROM VARIOUS 346 00:12:46,699 --> 00:12:47,299 PHOTOGRAPHS, THERE WAS A LOT OF 347 00:12:47,366 --> 00:12:49,068 PEOPLE IN THAT ROOM AS WELL IN 348 00:12:49,135 --> 00:12:51,137 THE PORTER NEUROSCIENCE BUILDING 349 00:12:51,203 --> 00:12:52,438 FOCUSING ON A VARIETY OF ISSUES 350 00:12:52,505 --> 00:12:54,039 HERE WE WILL BE REFLECTING ON IN 351 00:12:54,106 --> 00:12:55,708 THE COURSE OF TODAY AND 352 00:12:55,774 --> 00:12:56,308 TOMORROW. 353 00:12:56,375 --> 00:12:58,043 THERE WERE 25 RESEARCHERS PART 354 00:12:58,110 --> 00:12:59,845 OF THAT, THAT WERE 355 00:12:59,912 --> 00:13:03,215 REPRESENTATIVE FROM KE KENNEDY 356 00:13:03,282 --> 00:13:03,916 CENTER, THE NATIONAL ENDOWMENT 357 00:13:03,983 --> 00:13:06,152 OF THE ARTS WHO'S BEEN A 358 00:13:06,218 --> 00:13:08,287 WONDERFUL PARTNERSHIP IN THIS, 359 00:13:08,354 --> 00:13:09,922 AND ADVOCACY GROUPS ALSO WITH US 360 00:13:09,989 --> 00:13:10,823 FOR THIS GATHERING. 361 00:13:10,890 --> 00:13:12,358 BASICALLY WE DID A VERY DEEP 362 00:13:12,424 --> 00:13:13,459 DIVE INTO WHAT THE OPPORTUNITIES 363 00:13:13,526 --> 00:13:14,093 MIGHT BE. 364 00:13:14,160 --> 00:13:16,162 AND AS A RESULT OF THAT, 365 00:13:16,228 --> 00:13:17,496 ACTUALLY PUT TOGETHER AN AGENDA 366 00:13:17,563 --> 00:13:20,332 OF WHAT MIGHT BE THE NEXT THING 367 00:13:20,399 --> 00:13:25,037 TO DO MENTD ATO DO. 368 00:13:25,104 --> 00:13:26,238 MY CLICKER ALL OF A SUDDEN 369 00:13:26,305 --> 00:13:27,139 DOESN'T SEEM TO BE WORKING THE 370 00:13:27,206 --> 00:13:27,907 WAY I WOULD LIKE TO. 371 00:13:27,973 --> 00:13:28,340 THANK YOU. 372 00:13:28,407 --> 00:13:29,642 I DON'T KNOW WHO DID THAT BUT 373 00:13:29,708 --> 00:13:31,043 MAYBE I'LL NEED YOUR HELP. 374 00:13:31,110 --> 00:13:31,343 OKAY. 375 00:13:31,410 --> 00:13:32,978 THIS WAS PUBLISHED THEN, THE 376 00:13:33,045 --> 00:13:35,748 OUTCOME OF THIS, IN THE VERY 377 00:13:35,814 --> 00:13:36,715 PRESTIGIOUS JOURNAL "NEURON" 378 00:13:36,782 --> 00:13:38,617 WITH A BUNCH OF AUTHORS, AND 379 00:13:38,684 --> 00:13:40,586 BASICALLY LAID OUT FROM THIS 380 00:13:40,653 --> 00:13:42,087 WORKSHOP THE AGENDA OF WHAT WE 381 00:13:42,154 --> 00:13:44,723 THOUGHT SHOULD HAPPEN NEXT AS 382 00:13:44,790 --> 00:13:45,791 FAR AS THE RESEARCH FOR THIS 383 00:13:45,858 --> 00:13:47,259 EFFORT. 384 00:13:47,326 --> 00:13:48,093 I'M GOING TO NEED YOUR HELP. 385 00:13:48,160 --> 00:13:49,395 CAN I HAVE THE NEXT SLIDE? 386 00:13:49,461 --> 00:13:52,598 MAYBE THE BAT REA BATTERY ON THS 387 00:13:52,665 --> 00:13:53,165 SOME ATTENTION. 388 00:13:53,232 --> 00:13:54,466 SO WE HAD FOUR DIFFERENT THEMES 389 00:13:54,533 --> 00:13:55,634 AND I DON'T HAVE TIME TO READ 390 00:13:55,701 --> 00:13:56,435 THROUGH THEM WITH YOU, BUT YOU 391 00:13:56,502 --> 00:13:58,437 CAN SEE WHAT'S THERE. 392 00:13:58,504 --> 00:14:00,239 BASIC AND MECHANISTIC RESEARCH. 393 00:14:00,306 --> 00:14:02,041 REALLY TRYING TO FIGURE OUT WHAT 394 00:14:02,107 --> 00:14:03,742 NEURAL CIRCUITS RESPOND TO MUSIC 395 00:14:03,809 --> 00:14:06,045 AND HOW THAT HAS AN EFFECT ON 396 00:14:06,111 --> 00:14:09,782 PEOPLE IN TERMS OF HEALTH ISS 397 00:14:09,848 --> 00:14:10,015 ISSUES. 398 00:14:10,082 --> 00:14:10,649 TRANSLATIONAL AND CLINICAL 399 00:14:10,716 --> 00:14:11,784 RESEARCH, HOW CAN WE BASICALLY 400 00:14:11,850 --> 00:14:14,687 TAKE SOME OF THOSE BASIC 401 00:14:14,753 --> 00:14:18,090 OBSERVATIONS AND BRIQ THEM BRINM 402 00:14:18,157 --> 00:14:19,358 CLOSER TO CLINICAL APPLICATIONS 403 00:14:19,425 --> 00:14:20,459 TRYING TO MAKE THE REMARKABLE 404 00:14:20,526 --> 00:14:22,094 FIELD OF MUSIC THERAPY EVEN MORE 405 00:14:22,161 --> 00:14:23,128 ANCHORED IN THE FIELD OF 406 00:14:23,195 --> 00:14:24,029 NEUROSCIENCE. 407 00:14:24,096 --> 00:14:25,898 AND THEN TWO OTHER THINGS. 408 00:14:25,965 --> 00:14:26,665 METHODS AND OUTCOMES. 409 00:14:26,732 --> 00:14:27,866 IT WAS PRETTY CLEAR, THERE'S A 410 00:14:27,933 --> 00:14:29,501 LOT OF TECHNOLOGY THAT COULD BE 411 00:14:29,568 --> 00:14:30,836 APPLIED HERE. 412 00:14:30,903 --> 00:14:32,137 WE NEED TO FIGURE OUT HOW BEST 413 00:14:32,204 --> 00:14:32,905 TO STIMULATE THAT. 414 00:14:32,972 --> 00:14:34,406 AND THEN CAPACITY-BUILDING. 415 00:14:34,473 --> 00:14:35,674 BECAUSE SEVEN YEARS AGO, IT 416 00:14:35,741 --> 00:14:37,176 DIDN'T SEEM LIKE WE HAD A 417 00:14:37,243 --> 00:14:38,577 CRITICAL MASS OF PEOPLE WHO WERE 418 00:14:38,644 --> 00:14:40,546 REALLY INTERESTED IN HOW TO 419 00:14:40,613 --> 00:14:44,049 BRING TOGETHER NEUROSCIENCE AND 420 00:14:44,116 --> 00:14:45,251 MUSIC THERAPY AND AN 421 00:14:45,317 --> 00:14:46,118 UNDERSTANDING OF HOW THIS ALL 422 00:14:46,185 --> 00:14:47,019 FITS TOGETHER THE WAY THAT WE 423 00:14:47,086 --> 00:14:50,956 WOULD LIKE TO. 424 00:14:51,023 --> 00:14:52,258 SO AS A RESULT OF THAT 425 00:14:52,324 --> 00:14:53,592 SUCCESSFUL WORKSHOP, NIH GOT 426 00:14:53,659 --> 00:14:56,095 TOGETHER AND PUT TOGETHER THIS 427 00:14:56,161 --> 00:14:58,163 TRANS-NIH MUSIC AND HEALTH 428 00:14:58,230 --> 00:14:59,698 WORKING GROUP ESTABLISHED BACK 429 00:14:59,765 --> 00:15:02,301 IN SEPTEMBER OF 2017 NO LESS 430 00:15:02,368 --> 00:15:05,838 THAN 20 OF THE 27 NIH 431 00:15:05,904 --> 00:15:06,839 INSTITUTES, CENTERS AND OFFICES 432 00:15:06,905 --> 00:15:08,007 DECIDED TO JOIN UP. 433 00:15:08,073 --> 00:15:09,108 I WON'T NAME THE ONES THAT 434 00:15:09,174 --> 00:15:09,341 DIDN'T. 435 00:15:09,408 --> 00:15:10,743 THAT WOULD BE RUDE. 436 00:15:10,809 --> 00:15:11,076 [LAUGHTER] 437 00:15:11,143 --> 00:15:12,711 AND YOU CAN SEE WHAT THE CHARGE 438 00:15:12,778 --> 00:15:14,380 WAS HERE, TO DEVELOP, IMPLEMENT 439 00:15:14,446 --> 00:15:16,015 AND COORDINATE RESEARCH PROGRAMS 440 00:15:16,081 --> 00:15:17,216 RELATED TO MUSIC AND HEALTH 441 00:15:17,283 --> 00:15:20,152 ACROSS THE NIH. 442 00:15:20,219 --> 00:15:21,453 I WANT TO GIVE A BIG SHOUT OUT 443 00:15:21,520 --> 00:15:23,489 TO THE CO-CHAIRS OF THIS 444 00:15:23,555 --> 00:15:24,657 TRANS-NIH MUSIC AND HEALTH 445 00:15:24,723 --> 00:15:27,793 WORKING GROUP, EMMELINE EDWARDS, 446 00:15:27,860 --> 00:15:31,797 BOB FINKELSTEIN, TOM CHEEVER AND 447 00:15:31,864 --> 00:15:34,933 FIRST AND WEN CHEN TAKING OVER. 448 00:15:35,000 --> 00:15:36,101 MAYBE WE SHOULD GIVE THEM A 449 00:15:36,168 --> 00:15:36,902 LITTLE ROUND OF APPLAUSE? 450 00:15:36,969 --> 00:15:47,146 [APPLAUSE] 451 00:15:52,217 --> 00:15:53,619 I'LL HAVE TO DEPEND ON YOU. 452 00:15:53,686 --> 00:15:55,054 MAYBE WE CAN FIGURE OUT HOW IT 453 00:15:55,120 --> 00:15:56,121 FIX IT FOR THE FUTURE. 454 00:15:56,188 --> 00:15:57,456 A NUMBER OF OTHER THINGS NEEDED 455 00:15:57,523 --> 00:15:59,525 TO HAPPEN HERE TO TRY TO TAKE 456 00:15:59,591 --> 00:16:00,292 THE RECOMMENDATIONS OF THAT 457 00:16:00,359 --> 00:16:01,827 WORKSHOP AND MOVE THEM FORWARD, 458 00:16:01,894 --> 00:16:04,229 AND AS A RESULT OF THAT, IN 459 00:16:04,296 --> 00:16:06,432 2021, MEMBERS OF THE WORKING 460 00:16:06,498 --> 00:16:09,068 GROUP WERE BASICALLY ORGANIZED A 461 00:16:09,134 --> 00:16:10,569 SERIES OF THREE VIRTUAL 462 00:16:10,636 --> 00:16:11,770 WORKSHOPS WITH ASSISTANCE FROM 463 00:16:11,837 --> 00:16:15,040 THE FOUNDATION FOR NIH. 464 00:16:15,107 --> 00:16:16,775 YOU CAN SEE WHAT THOSE THREE 465 00:16:16,842 --> 00:16:17,676 WORKSHOPS WERE. 466 00:16:17,743 --> 00:16:19,745 LAYING THE FOUNDATION, BA BASICY 467 00:16:19,812 --> 00:16:21,480 ASSESSING AND MEASURING TARGETED 468 00:16:21,547 --> 00:16:22,381 ENGAGEMENT, A TERM THAT MIGHT 469 00:16:22,448 --> 00:16:23,916 NOT BE TOO FAMILIAR TO MUSICIANS 470 00:16:23,982 --> 00:16:24,783 BUT IT'S VERY IMPORTANT TO 471 00:16:24,850 --> 00:16:26,051 PEOPLE WHO ARE DESIGNING 472 00:16:26,118 --> 00:16:26,418 CLINICAL TRIALS. 473 00:16:26,485 --> 00:16:28,187 DID YOU, IN FACT, BY YOUR 474 00:16:28,253 --> 00:16:29,288 INTERVENTION HAVE EVIDENCE THAT 475 00:16:29,355 --> 00:16:31,357 YOU HIT THE TARGET, IN THIS 476 00:16:31,423 --> 00:16:33,559 CASE, SOME CIRCUIT IN THE BRAIN. 477 00:16:33,625 --> 00:16:35,294 AND THEN HOW DO YOU RELATE THAT 478 00:16:35,361 --> 00:16:36,929 TO CLINICAL BENEFIT. 479 00:16:36,995 --> 00:16:38,197 THOSE WERE INTENSE WORKSHOPS. 480 00:16:38,263 --> 00:16:39,565 OUT OF THAT CAME SOME IDEAS 481 00:16:39,631 --> 00:16:40,899 ABOUT BIOMARKERS AND 482 00:16:40,966 --> 00:16:41,967 PARTICULARLY ABOUT BRAIN 483 00:16:42,034 --> 00:16:44,370 DISORDERS OF AGING. 484 00:16:44,436 --> 00:16:48,006 AND THEN, A VERY IMPORTANT PART 485 00:16:48,073 --> 00:16:49,842 OF THIS WAS TO DEVELOP A TOOLKIT 486 00:16:49,908 --> 00:16:52,077 SO THAT RESEARCHERS WHO WERE 487 00:16:52,144 --> 00:16:53,112 DOING THE KIND OF RESEARCH THAT 488 00:16:53,178 --> 00:16:55,447 WE REALLY THINK WE NEED MORE OF 489 00:16:55,514 --> 00:16:56,849 IN TERMS OF CLINICAL 490 00:16:56,915 --> 00:16:59,685 INTERVENTIONS HAVE A WAY OF -- 491 00:16:59,752 --> 00:17:01,019 HAVE BEEN PROVIDED FOR THEM A 492 00:17:01,086 --> 00:17:02,755 SENSE OF EXACTLY WHAT KINDS OF 493 00:17:02,821 --> 00:17:05,257 TOOLS ARE AVAILABLE, WHAT KIND 494 00:17:05,324 --> 00:17:07,025 OF RIGOROUS STRATEGIES CAN BE 495 00:17:07,092 --> 00:17:07,393 EMPLOYED. 496 00:17:07,459 --> 00:17:08,794 WE WANTED TO BE SURE THE 497 00:17:08,861 --> 00:17:10,295 RESEARCHERS IN THIS AREA WERE 498 00:17:10,362 --> 00:17:12,931 NOT GOING TO GET DINGED BY THE 499 00:17:12,998 --> 00:17:14,900 VERY TOUGH REVIEWS THAT HAPPEN 500 00:17:14,967 --> 00:17:16,869 WHEN YOU SEND IN APPLICATIONS TO 501 00:17:16,935 --> 00:17:18,604 NIH, BUT WE WOULD PROVIDE THEM 502 00:17:18,670 --> 00:17:20,038 WITH THE OPPORTUNITIES TO TAKE 503 00:17:20,105 --> 00:17:22,007 ADVANTAGE OF THIS TOOLKIT. 504 00:17:22,074 --> 00:17:23,742 AND THIS INCLUDES A COMMON SET 505 00:17:23,809 --> 00:17:26,578 OF DATA ELEMENTS, BUILDING 506 00:17:26,645 --> 00:17:29,448 BLOCKS FOR MUSIC-BASED 507 00:17:29,515 --> 00:17:31,083 INTERVENTIONS, A CORSET OF 508 00:17:31,150 --> 00:17:32,518 FUNCTIONAL OUTCOME MEASURES, ALL 509 00:17:32,584 --> 00:17:33,318 THE THINGS YOU WOULD WANT TO 510 00:17:33,385 --> 00:17:35,621 HAVE IN A RIGOROUS DESIGN OF A 511 00:17:35,687 --> 00:17:36,321 MUSIC-BASED INTERVENTION, WHERE 512 00:17:36,388 --> 00:17:37,489 YOU WOULD KNOW WHEN YOU GOT TO 513 00:17:37,556 --> 00:17:38,557 THE END OF THE STUDY WHAT YOU 514 00:17:38,624 --> 00:17:39,725 HAD LEARNED AND THAT IT WAS 515 00:17:39,792 --> 00:17:41,560 GOING TO BE REPRODUCIBLE. 516 00:17:41,627 --> 00:17:43,095 THEN ANOTHER IMPORTANT THING 517 00:17:43,162 --> 00:17:45,330 THAT HAPPENED WAS A GATHERING AT 518 00:17:45,397 --> 00:17:47,833 THE SYMPOSIUM OF THE SOCIETY FOR 519 00:17:47,900 --> 00:17:49,535 NEUROSCIENCE, WHICH IS THE 520 00:17:49,601 --> 00:17:51,236 BIGGEST GATHERING OF 521 00:17:51,303 --> 00:17:53,172 NEUROSCIENTISTS SOME 30,000 522 00:17:53,238 --> 00:17:53,839 PEOPLE SHOW UP FOR THESE 523 00:17:53,906 --> 00:17:55,441 MEETINGS AND THE WORKING GROUP 524 00:17:55,507 --> 00:17:56,675 PUT TOGETHER THIS SYMPOSIUM, 525 00:17:56,742 --> 00:17:57,910 WHICH INCLUDED A LOT OF THE 526 00:17:57,976 --> 00:18:00,045 THINGS YOU SEE ON THIS SLIDE. 527 00:18:00,112 --> 00:18:02,247 A RECOGNITION OF EXACTLY WHAT 528 00:18:02,314 --> 00:18:03,482 KINDS OF MUSICAL COMPONENTS 529 00:18:03,549 --> 00:18:06,051 COULD BE STUDIED, THE GIRCHES 530 00:18:06,118 --> 00:18:08,554 BETWEEN RECEPTIVE AND ACTIVE 531 00:18:08,620 --> 00:18:09,555 STUDIES, AND ALL THE BRAIN 532 00:18:09,621 --> 00:18:11,657 CIRCUITS AND MODEL SYSTEMS AND 533 00:18:11,723 --> 00:18:13,959 TECHNOLOGIES THAT ARE UNDER 534 00:18:14,026 --> 00:18:16,028 CONSIDERATION FOR INCLUSION IN 535 00:18:16,094 --> 00:18:17,463 THIS VERY EXCITING NEW AREA OF 536 00:18:17,529 --> 00:18:20,165 MUSIC AND HEALTH. 537 00:18:20,232 --> 00:18:22,801 WE'VE ALSO HAD A LOT OF 538 00:18:22,868 --> 00:18:24,002 WONDERFUL SUPPORT FROM THE 539 00:18:24,069 --> 00:18:26,738 KENNEDY CENTER, SO THE NEXT 540 00:18:26,805 --> 00:18:28,373 SLIDE, JUST A TINY BIT OF 541 00:18:28,440 --> 00:18:29,408 RECOGNITION OF THE MANY THINGS, 542 00:18:29,475 --> 00:18:31,443 AND THANK YOU, DEB, FOR YOUR 543 00:18:31,510 --> 00:18:32,878 STRONG SUPPORT THROUGH ALL OF 544 00:18:32,945 --> 00:18:33,312 THIS. 545 00:18:33,378 --> 00:18:34,713 SOUND HEALTH AT THE KENNEDY 546 00:18:34,780 --> 00:18:37,583 CENTER, MUSIC AND MIND WITH 547 00:18:37,649 --> 00:18:41,386 RENEE, RENEW AND REMIX, CHILDREN 548 00:18:41,453 --> 00:18:42,821 INVOLVED, DANCE FOR PARKINSON'S 549 00:18:42,888 --> 00:18:44,256 DISEASE, A VARIETY OF WONDERFUL 550 00:18:44,323 --> 00:18:46,425 VISITS THAT THE NSO HAS MADE TO 551 00:18:46,492 --> 00:18:48,727 THE NIH, SOMETHING THAT I'VE 552 00:18:48,794 --> 00:18:49,828 GREATLY BENEFITED FROM AND ALL 553 00:18:49,895 --> 00:18:51,296 OF MY NIH COLLEAGUES HAVE AS 554 00:18:51,363 --> 00:18:52,464 WELL WITH PERFORMANCES THERE IN 555 00:18:52,531 --> 00:18:55,300 THE ATRIUM OF THE CLINICAL 556 00:18:55,367 --> 00:18:55,701 CENTER. 557 00:18:55,767 --> 00:18:56,935 THEN OF COURSE WE'VE HAD SOME 558 00:18:57,002 --> 00:18:58,670 REALLY BIG MOMENTS, LIKE THIS 559 00:18:58,737 --> 00:19:01,607 EXAMPLE. 560 00:19:01,673 --> 00:19:02,608 OF SOUND HEALTH ACTIVITIES ON 561 00:19:02,674 --> 00:19:04,476 THE MAIN STAGE IN THE CONCERT 562 00:19:04,543 --> 00:19:06,445 HALL, AND BRINGING TOGETHER 563 00:19:06,512 --> 00:19:08,213 PERFORMERS, SCIENTISTS, MUSIC 564 00:19:08,280 --> 00:19:09,081 THERAPISTS, ALL LEARNING FROM 565 00:19:09,147 --> 00:19:10,148 EACH OTHER OVER THE COURSE OF A 566 00:19:10,215 --> 00:19:12,684 COUPLE OF DAYS. 567 00:19:12,751 --> 00:19:13,886 SO IT HAS BEEN PRETTY WILD DOING 568 00:19:13,952 --> 00:19:15,654 ALL OF THAT, AND WE HAVE OTHER 569 00:19:15,721 --> 00:19:17,923 WONDERFUL PARTNERS AS WELL. 570 00:19:17,990 --> 00:19:20,659 WHICH INCLUDE THE SOUND HEALTH 571 00:19:20,726 --> 00:19:23,662 NETWORK, WHICH HAS BEEN A WON 572 00:19:23,729 --> 00:19:24,696 WONDERFUL PARTNERSHIP WITH THE 573 00:19:24,763 --> 00:19:27,900 NATIONAL ENDOWMENT FOR THE ARTS 574 00:19:27,966 --> 00:19:29,868 AND ALL OF US HAVE HAD THE 575 00:19:29,935 --> 00:19:30,836 BENEFIT OF VARIOUS THINGS THEY 576 00:19:30,903 --> 00:19:32,371 HAVE DONE, INCLUDING, AS YOU CAN 577 00:19:32,437 --> 00:19:33,639 SEE HERE, A NUMBER OF SPECIFIC 578 00:19:33,705 --> 00:19:35,641 EVENTS THAT INVOLVE LOOKING AT 579 00:19:35,707 --> 00:19:37,809 VARIOUS AREAS ABOUT HOW MUSIC 580 00:19:37,876 --> 00:19:39,244 PLAYS A ROLE IN CHILD 581 00:19:39,311 --> 00:19:40,345 DEVELOPMENT AND EDUCATION AND 582 00:19:40,412 --> 00:19:42,447 MANY OTHER THINGS. 583 00:19:42,514 --> 00:19:43,415 WELL, WHAT ABOUT NIH? 584 00:19:43,482 --> 00:19:44,716 WHAT HAVE WE DONE WITH ALL OF 585 00:19:44,783 --> 00:19:47,019 THIS OPPORTUNITY AND THIS SET OF 586 00:19:47,085 --> 00:19:48,353 OPTIONS OF WHAT NEEDED TO BE 587 00:19:48,420 --> 00:19:50,989 WORKED ON? 588 00:19:51,056 --> 00:19:52,925 THE WAY WE DO THIS AS NIH IS WE 589 00:19:52,991 --> 00:19:53,825 IDENTIFY WHAT ARE THE MOST 590 00:19:53,892 --> 00:19:55,561 COMPELLING AREAS, AND THEN WE 591 00:19:55,627 --> 00:19:56,962 ISSUE WHAT WOULD BE CALLED AN 592 00:19:57,029 --> 00:20:01,033 RFA, A REQUEST FOR FUNDING 593 00:20:01,099 --> 00:20:02,134 BASICALLY THE ANNOUNCEMENT WHERE 594 00:20:02,200 --> 00:20:03,302 WE SAY TO PEOPLE, THERE'S AN 595 00:20:03,368 --> 00:20:05,938 OPPORTUNITY HERE FOR YOU TO 596 00:20:06,004 --> 00:20:06,538 SUBMIT AN APPLICATION BECAUSE 597 00:20:06,605 --> 00:20:09,007 WE'RE REALLY INTERESTED IN THIS 598 00:20:09,074 --> 00:20:10,676 TOPIC. 599 00:20:10,742 --> 00:20:12,344 YOU CAN SEE THE RFAs THAT NIH 600 00:20:12,411 --> 00:20:14,046 HAS PUT OUT ARE IN THE FOUR 601 00:20:14,112 --> 00:20:15,547 CATEGORIES THAT CAME OUT OF THAT 602 00:20:15,614 --> 00:20:18,750 2017 WORKSHOP, AND THE WORD 603 00:20:18,817 --> 00:20:19,952 CLOUD OVER THERE KIND OF TELLS 604 00:20:20,018 --> 00:20:21,720 YOU WHAT ENDS UP HAPPENING WITH 605 00:20:21,787 --> 00:20:23,555 THE GRANTS THAT WE DID FUND IN 606 00:20:23,622 --> 00:20:25,290 TERMS OF WHAT KINDS OF AREAS 607 00:20:25,357 --> 00:20:26,625 THEY SUPPORTED. 608 00:20:26,692 --> 00:20:28,694 YOU PROBABLY CAN'T SEE THE FINE 609 00:20:28,760 --> 00:20:30,195 PRINT PARTICULARLY WELL. 610 00:20:30,262 --> 00:20:31,863 OBVIOUSLY MUSIC, EVERYBODY HAD 611 00:20:31,930 --> 00:20:32,965 MUSIC IN THEIR APPLICATION. 612 00:20:33,031 --> 00:20:35,934 WHAT DO YOU KNOW. 613 00:20:36,001 --> 00:20:36,902 BUT THEN THERE ARE OTHER THINGS 614 00:20:36,969 --> 00:20:39,404 IN THERE TOO, IF YOU COULD SEE 615 00:20:39,471 --> 00:20:41,406 THE SMALL PRINT, ALZHEIMER'S IS 616 00:20:41,473 --> 00:20:42,941 FEATURED, PAIN IS FEATURED, 617 00:20:43,008 --> 00:20:44,676 VARIOUS ASPECTS OF NEUROSCIENCE. 618 00:20:44,743 --> 00:20:45,744 BUT YOU CAN'T TELL MUCH FROM 619 00:20:45,811 --> 00:20:46,945 THAT ABOUT WHAT WE ACTUALLY DID. 620 00:20:47,012 --> 00:20:48,046 AND OF COURSE THIS HAS BECOME 621 00:20:48,113 --> 00:20:49,715 NOW A REALLY IMPRESSIVE 622 00:20:49,781 --> 00:20:50,682 PORTFOLIO, AND YOU'RE GOING TO 623 00:20:50,749 --> 00:20:51,883 HEAR IN THE COURSE OF THIS 624 00:20:51,950 --> 00:20:53,752 MEETING A LOT OF PRESENTATIONS 625 00:20:53,819 --> 00:20:55,187 FROM THE GRANTEES THAT WE HAVE 626 00:20:55,253 --> 00:20:56,722 FUNDED OVER THE COURSE OF THESE 627 00:20:56,788 --> 00:20:58,023 SIX OR SEVEN YEARS. 628 00:20:58,090 --> 00:20:59,324 IF YOU GO TO THE NEXT SLIDE, YOU 629 00:20:59,391 --> 00:21:01,927 CAN SEE EXACTLY WHERE THOSE GOT 630 00:21:01,994 --> 00:21:03,028 FUNDED FROM, ALL OF THE 631 00:21:03,095 --> 00:21:04,363 DIFFERENT NIH INSTITUTES THAT 632 00:21:04,429 --> 00:21:05,330 TOOK PART IN THIS. 633 00:21:05,397 --> 00:21:07,099 AND THE BIG NUMBER OVER THERE ON 634 00:21:07,165 --> 00:21:11,470 THE RIGHT, $35 MILLION, HAS BEEN 635 00:21:11,536 --> 00:21:15,941 INVESTED IN THIS WHOLE AREA OF 636 00:21:16,008 --> 00:21:16,842 MUSIC AND THE MIND BECAUSE OF 637 00:21:16,908 --> 00:21:18,043 THE PROGRAM THAT GOT STARTED 638 00:21:18,110 --> 00:21:18,477 SEVEN YEARS AGO. 639 00:21:18,543 --> 00:21:19,678 SO THAT'S NOT A SMALL BIT OF 640 00:21:19,745 --> 00:21:19,911 CHANGE. 641 00:21:19,978 --> 00:21:30,155 [APPLAUSE] 642 00:21:31,923 --> 00:21:32,491 AND FIRST OF ALL KEEP IN MIND 643 00:21:32,557 --> 00:21:33,959 THAT WE WERE FUNDING PROJECTS IN 644 00:21:34,026 --> 00:21:36,628 THIS AREA BEFORE MUSIC AND 645 00:21:36,695 --> 00:21:37,829 HEALTH WORKSHOP CAME ALONG. 646 00:21:37,896 --> 00:21:42,200 YOU CAN SEE BETWEEN 2014 AND 647 00:21:42,267 --> 00:21:42,968 2018 THE DOLLAR FIGURE, AND THEN 648 00:21:43,035 --> 00:21:45,037 YOU CAN SEE IT BUMPED UP 649 00:21:45,103 --> 00:21:47,072 SUBSTANTIALLY WHEN WE GOT TO 650 00:21:47,139 --> 00:21:50,642 2019 TO 2023, BECAUSE OF ALL OF 651 00:21:50,709 --> 00:21:52,144 THESE RFAs THAT I JUST TOLD 652 00:21:52,210 --> 00:21:53,478 YOU ABOUT AND A NUMBER OF 653 00:21:53,545 --> 00:21:54,980 PROJECTS WENT UP VERY 654 00:21:55,047 --> 00:21:55,580 SIGNIFICANTLY AS A RESULT OF 655 00:21:55,647 --> 00:21:56,081 THAT AS WELL. 656 00:21:56,148 --> 00:21:58,717 BUT WE DID ALREADY HAVE A 657 00:21:58,784 --> 00:22:00,252 WONDERFUL FOUNDATION OF WORK 658 00:22:00,318 --> 00:22:01,453 THAT WAS GOING ON BY SOME OF YOU 659 00:22:01,520 --> 00:22:03,088 IN THIS ROOM THAT WE COULD NOW 660 00:22:03,155 --> 00:22:04,856 BUILD UPON, AND ALSO MAYBE 661 00:22:04,923 --> 00:22:05,957 DIRECT IT IN AREAS THAT WE 662 00:22:06,024 --> 00:22:07,492 THOUGHT WERE PARTICULARLY READY 663 00:22:07,559 --> 00:22:10,529 FOR THIS KIND OF EXPANSION OF 664 00:22:10,595 --> 00:22:10,962 SUPPORT. 665 00:22:11,029 --> 00:22:12,664 DID IT RESULT IN ANYTHING AS FAR 666 00:22:12,731 --> 00:22:13,231 AS SCHOLARSHIP? 667 00:22:13,298 --> 00:22:14,366 YOU BET IT DID. 668 00:22:14,433 --> 00:22:21,373 THIS IS A PUBLICAT PUBLICATION , 669 00:22:21,440 --> 00:22:22,441 ANYTHING THAT YOU WENT TO PUBMED 670 00:22:22,507 --> 00:22:25,844 AND LOOKED FOR THE MESH TERM 671 00:22:25,911 --> 00:22:27,279 "MUSIC" AND LOOKED TO SEE WHAT 672 00:22:27,345 --> 00:22:28,580 COMES UP. 673 00:22:28,647 --> 00:22:30,115 MOST OF THOSE WILL BE RELEVANT 674 00:22:30,182 --> 00:22:31,550 TO WHAT WE WILL BE TALK ABOUT, 675 00:22:31,616 --> 00:22:32,851 AND YOU CAN SEE STARTING IN 676 00:22:32,918 --> 00:22:34,953 2017, THERE WAS A BUMP-UP. 677 00:22:35,020 --> 00:22:36,788 AND THAT'S I THINK BECAUSE OF 678 00:22:36,855 --> 00:22:37,789 EVERYTHING THAT WE DID. 679 00:22:37,856 --> 00:22:38,623 NOW I THOUGHT IT WOULD BE FUN 680 00:22:38,690 --> 00:22:40,158 AND I ASKED THE WORKING GROUP, 681 00:22:40,225 --> 00:22:42,127 HEY, GIVE ME A FEW EXAMPLES OF 682 00:22:42,194 --> 00:22:42,928 SOME OF THE THINGS WE HAVE 683 00:22:42,994 --> 00:22:43,995 FUNDED SO IT'S NOT QUITE SO 684 00:22:44,062 --> 00:22:44,463 GENERAL. 685 00:22:44,529 --> 00:22:46,732 THEY THREW ME A FEW VERY 686 00:22:46,798 --> 00:22:47,699 COMPLICATED CURVE BALLS BUT I'LL 687 00:22:47,766 --> 00:22:50,669 TRY TO EXPLAIN THEM TO YOU. 688 00:22:50,736 --> 00:22:52,170 SO LET'S GO TO THIS ONE. 689 00:22:52,237 --> 00:22:52,637 OKAY. 690 00:22:52,704 --> 00:22:54,272 WHAT ARE WE DOING HERE? 691 00:22:54,339 --> 00:22:55,474 THIS IS A VERY INTERESTING 692 00:22:55,540 --> 00:22:57,309 PROJECT THAT I REALLY HAD TO GO 693 00:22:57,375 --> 00:22:58,844 AND READ THE ORIGINAL PAPER TO 694 00:22:58,910 --> 00:22:59,478 FIGURE OUT WAIT A MINUTE, WHAT 695 00:22:59,544 --> 00:23:00,078 IS THIS? 696 00:23:00,145 --> 00:23:01,546 THEY'RE TRYING TO FIGURE OUT, 697 00:23:01,613 --> 00:23:04,082 FOR LANGUAGES WHERE ACTUAL TONE 698 00:23:04,149 --> 00:23:07,753 IS REALLY IMPORTANT, THE LEXICAL 699 00:23:07,819 --> 00:23:08,720 TONE, LIKE MANDARIN, FOR 700 00:23:08,787 --> 00:23:09,821 INSTANCE, WHERE THE SAME WORD 701 00:23:09,888 --> 00:23:11,356 CAN MEAN SOMETHING VERY 702 00:23:11,423 --> 00:23:12,257 DIFFERENT DEPENDING ON WHETHER 703 00:23:12,324 --> 00:23:13,625 YOU WENT FROM LOW TO HIGH OR 704 00:23:13,692 --> 00:23:16,161 HIGH TO LOW OR SOMETHING IN 705 00:23:16,228 --> 00:23:18,864 BETWEEN, BUT ACTUALLY PEOPLE WHO 706 00:23:18,930 --> 00:23:21,199 ARE NOT MANDARIN SPEAKERS, 707 00:23:21,266 --> 00:23:22,267 NATIVE ENGLISH SPEAKER, IF YOU 708 00:23:22,334 --> 00:23:23,902 LOOK AT WHAT'S HAPPENING BETWEEN 709 00:23:23,969 --> 00:23:28,306 AGE 6 AND 12 MONTHS, MOST OF 710 00:23:28,373 --> 00:23:30,275 THOSE KIDS ARE DEVELOPING 711 00:23:30,342 --> 00:23:31,376 LANGUAGE SKILLS AND THERE'S A 712 00:23:31,443 --> 00:23:33,779 WINDOW THERE FOR CAPTURING THEIR 713 00:23:33,845 --> 00:23:35,514 LEXICAL SENSITIVITY, BUT IT 714 00:23:35,580 --> 00:23:36,815 DOESN'T HAPPEN IN ENGLISH 715 00:23:36,882 --> 00:23:37,382 SPEAKERS BECAUSE THEY'RE NOT 716 00:23:37,449 --> 00:23:39,785 REALLY GETTING THAT TRIGGER. 717 00:23:39,851 --> 00:23:40,919 HOWEVER, THAT'S A REALLY 718 00:23:40,986 --> 00:23:41,887 IMPORTANT THING TO TRY TO 719 00:23:41,953 --> 00:23:42,354 RETAIN. 720 00:23:42,420 --> 00:23:44,623 SO WHAT THEY DID HERE WAS THEY 721 00:23:44,689 --> 00:23:47,559 TOOK KIDS AT 7 MONTHS AND THEY 722 00:23:47,626 --> 00:23:49,895 TOOK THE BASELINE, AND THEN AT 723 00:23:49,961 --> 00:23:51,062 11 MONTHS, THEY CHECKED AGAIN TO 724 00:23:51,129 --> 00:23:52,264 SEE WHAT HAPPENED IN TERMS OF 725 00:23:52,330 --> 00:23:55,200 THEIR ABILITY TO TRACK A 726 00:23:55,267 --> 00:23:56,101 PARTICULAR TONE AND SEE WHETHER 727 00:23:56,168 --> 00:23:58,036 THEY WERE TRACKING IT CORRECTLY. 728 00:23:58,103 --> 00:24:00,906 USING SOMETHING CALLED A 729 00:24:00,972 --> 00:24:01,640 FREQUENCY-FOLLOWING RESPONSE. 730 00:24:01,706 --> 00:24:03,208 BOTTOM LINE IS, JUST LOOK AT THE 731 00:24:03,275 --> 00:24:05,811 TWO CURVES THERE. 732 00:24:05,877 --> 00:24:06,812 THE ONE ON THE LEFT, YOU'LL SEE 733 00:24:06,878 --> 00:24:08,747 THERE'S A BIG SPIKE THERE IN THE 734 00:24:08,814 --> 00:24:09,114 RED. 735 00:24:09,181 --> 00:24:10,215 THOSE ARE THE KIDS WHO DIDN'T 736 00:24:10,282 --> 00:24:12,250 GET MUSICAL TRAINING IN BETWEEN 737 00:24:12,317 --> 00:24:12,918 7 AND 11 MONTHS. 738 00:24:12,984 --> 00:24:15,320 WHEREAS THE KIDS IN BLUE DID, 739 00:24:15,387 --> 00:24:17,856 AND THEY WERE THEN ABLE TO TRACK 740 00:24:17,923 --> 00:24:20,392 THIS LEXICAL CHANGE MORE 741 00:24:20,458 --> 00:24:21,560 ACCURATELY BECAUSE THEY HAD THAT 742 00:24:21,626 --> 00:24:22,561 EXPOSURE TO MUSIC. 743 00:24:22,627 --> 00:24:24,629 SO MUSIC IN THIS INSTANCE, 744 00:24:24,696 --> 00:24:26,731 PLAYING A ROLE IN SENSITIVITY TO 745 00:24:26,798 --> 00:24:28,233 SUBTLE LANGUAGE DIFFERENCES, 746 00:24:28,300 --> 00:24:30,635 WHICH WOULD BE PARTICULARLY 747 00:24:30,702 --> 00:24:32,003 IMPORTANT FOR A MANDARIN SPEAKER 748 00:24:32,070 --> 00:24:33,138 BUT PROBABLY IMPORTANT FOR ALL 749 00:24:33,205 --> 00:24:33,805 OF US AS WELL. 750 00:24:33,872 --> 00:24:35,540 IF YOU DIDN'T QUITE GET THAT, GO 751 00:24:35,607 --> 00:24:37,442 AND READ THE PAPER, IT'S REALLY 752 00:24:37,509 --> 00:24:38,176 COOL. 753 00:24:38,243 --> 00:24:41,913 SECOND ONE, THIS IS AN 754 00:24:41,980 --> 00:24:43,315 INTERESTING USE OF THE STUDY 755 00:24:43,381 --> 00:24:44,516 CALLED ABCD, WHICH IS A BIG 756 00:24:44,583 --> 00:24:45,951 STUDY THAT NIH ORGANIZED WITH A 757 00:24:46,017 --> 00:24:49,154 BUNCH OF SUPPORT PARTICULARLY 758 00:24:49,221 --> 00:24:51,456 FROM NORA VOLKOW AND THE DRUG 759 00:24:51,523 --> 00:24:53,158 ABUSE INSTITUTE BUT ALSO MANY 760 00:24:53,225 --> 00:24:53,859 OTHER INSTITUTES THAT JOINED IN 761 00:24:53,925 --> 00:24:54,392 ON THIS. 762 00:24:54,459 --> 00:24:55,694 THEY'RE STUDYING ADOLESCENTS, 763 00:24:55,760 --> 00:24:57,028 LOTS OF THEM, OVER THE COURSE OF 764 00:24:57,095 --> 00:25:01,132 QUITE A NUMBER OF YEARS. 765 00:25:01,199 --> 00:25:02,500 11,876 KIDS, AND THERE'S SOME 766 00:25:02,567 --> 00:25:04,002 TWIN PAIRS IN THERE TOO. 767 00:25:04,069 --> 00:25:05,904 THEY'RE COLLECTING ALL THE 768 00:25:05,971 --> 00:25:06,872 INFORMATION THEY POSSIBLY CAN. 769 00:25:06,938 --> 00:25:09,474 A LOT OF IT IS ABOUT MENTAL 770 00:25:09,541 --> 00:25:11,009 HEALTH AND THE EFFECT OF SOCIAL 771 00:25:11,076 --> 00:25:12,210 MEDIA BUT THEY ASKED THEM ABOUT 772 00:25:12,277 --> 00:25:12,544 MUSIC. 773 00:25:12,611 --> 00:25:14,045 SO DID THIS PARTICULAR CHILDED 774 00:25:14,112 --> 00:25:18,116 CHILDHAVE A MUSIC EXPOSURE AND , 775 00:25:18,183 --> 00:25:19,217 DID IT CORRELATE WITH ANYTHING 776 00:25:19,284 --> 00:25:19,851 ELSE THEY WERE DOING? 777 00:25:19,918 --> 00:25:21,253 I THINK THE BIG STORY HERE THAT 778 00:25:21,319 --> 00:25:22,854 I SAW WAS IT DID TURN OUT THAT 779 00:25:22,921 --> 00:25:25,257 IF YOU HAD SOME INSTRUMENT 780 00:25:25,323 --> 00:25:27,492 EXPOSURE, SOME EXPOSURE TO A 781 00:25:27,559 --> 00:25:28,793 MUSICAL INSTRUMENT, YOU HAD A 782 00:25:28,860 --> 00:25:32,497 CORRELATION WITH LANGUAGE SKI 783 00:25:32,564 --> 00:25:32,964 SKILLS. 784 00:25:33,031 --> 00:25:35,033 AN R SQUARED OF .27 IS NOT HUGE 785 00:25:35,100 --> 00:25:36,801 BUT IT'S THERE, AND ALONG WITH 786 00:25:36,868 --> 00:25:38,136 EXECUTIVE FUNCTION WHICH WAS 787 00:25:38,203 --> 00:25:39,404 INTRIGUING, SUGGESTING THAT IN 788 00:25:39,471 --> 00:25:41,373 THIS PARTICULAR COHORT OF 789 00:25:41,439 --> 00:25:42,607 ADOLESCENTS, THAT MUSIC EXPOSURE 790 00:25:42,674 --> 00:25:44,609 IN TERMS OF HAVING EXPOSURE TO 791 00:25:44,676 --> 00:25:45,644 AN INSTRUMENT, HAD THIS OTHER 792 00:25:45,710 --> 00:25:47,078 KIND OF SPINOFF. 793 00:25:47,145 --> 00:25:50,882 NOW, ADMITTEDLY, THIS IS NOT A 794 00:25:50,949 --> 00:25:52,517 PROSPECTIVE STUDY, THIS IS 795 00:25:52,584 --> 00:25:53,618 RETROSPECTIVE AND SOME PEOPLE 796 00:25:53,685 --> 00:25:56,488 WILL CRITICIZE IT, SO LISTEN TO 797 00:25:56,554 --> 00:25:58,023 SESSION 3 WHEN WE TALK ABOUT AN 798 00:25:58,089 --> 00:25:59,324 APPROACH DOING THIS MORE 799 00:25:59,391 --> 00:26:02,060 RIGOROUSLY IN A PROSPECTIVE WAY 800 00:26:02,127 --> 00:26:04,029 IN HISPANIC CHILDREN IN 801 00:26:04,095 --> 00:26:05,664 LOS ANGELES. 802 00:26:05,730 --> 00:26:08,400 ANOTHER ONE, THIS IS AN 803 00:26:08,466 --> 00:26:09,601 INTERESTING STUDY TRYING TO 804 00:26:09,668 --> 00:26:11,136 UNDERSTAND WHETHER TRAINING 805 00:26:11,202 --> 00:26:13,405 AUTISTIC CHILDREN WITH DRUMMING 806 00:26:13,471 --> 00:26:15,941 WOULD ACTUALLY HAVE BENEFIT IN 807 00:26:16,007 --> 00:26:18,343 TERMS OF EXTINGUISHING SOME 808 00:26:18,410 --> 00:26:19,878 OTHER REPETITIVE BEHAVIORS WHICH 809 00:26:19,945 --> 00:26:21,313 CAN BE SO DIFFICULT FOR KIDS AND 810 00:26:21,379 --> 00:26:22,314 THEIR PARENTS AND TEACHERS. 811 00:26:22,380 --> 00:26:23,715 SO THEY BASICALLY DIVIDED THEM 812 00:26:23,782 --> 00:26:27,752 UP INTO TWO GROUPS, AND ONE 813 00:26:27,819 --> 00:26:29,287 GROUP JUST GOT OBSERVED AND THE 814 00:26:29,354 --> 00:26:30,922 OTHER GOT TRAINED IN A SERIES OF 815 00:26:30,989 --> 00:26:32,123 EXERCISES ABOUT HOW TO BE AN 816 00:26:32,190 --> 00:26:32,891 EFFECTIVE DRUMMER. 817 00:26:32,958 --> 00:26:34,592 AND THEY DID A LOT OF MRI SCANS, 818 00:26:34,659 --> 00:26:36,094 WHICH I WON'T TRY TO EXPLAIN TO 819 00:26:36,161 --> 00:26:38,496 YOU, BUT THEY DID, IN FACT, SHOW 820 00:26:38,563 --> 00:26:41,132 THAT THE MRI SCANS DID 821 00:26:41,199 --> 00:26:43,301 DEMONSTRATE THE DRUMMING HAD AN 822 00:26:43,368 --> 00:26:47,005 EFFECT OP SOMETHIN ON SOMETHINGD 823 00:26:47,072 --> 00:26:48,440 CALL INHIBITORY CONTROL, 824 00:26:48,506 --> 00:26:49,274 FUNCTIONAL CONNECTIVITY IN THE 825 00:26:49,341 --> 00:26:49,541 BRAIN. 826 00:26:49,607 --> 00:26:50,442 FURTHERMORE AS YOU CAN SEE FROM 827 00:26:50,508 --> 00:26:55,480 THE BLUE AND RED LINE, THE RED 828 00:26:55,547 --> 00:26:56,214 LINE BEING WHAT HAPPENED WITH 829 00:26:56,281 --> 00:26:58,616 THE DRUM CONTROL GROUP, THEY HAD 830 00:26:58,683 --> 00:27:00,919 A REDUCTION IN HYPERACTIVITY AND 831 00:27:00,986 --> 00:27:04,489 INATTENTION SCORES WHICH WAS 832 00:27:04,556 --> 00:27:05,123 STATISTICALLY SIGNIFICANT AS A 833 00:27:05,190 --> 00:27:06,491 RESULT OF THIS PARTICULAR STUDY, 834 00:27:06,558 --> 00:27:09,661 WHERE THESE 36 ADOLESCENTS WERE 835 00:27:09,728 --> 00:27:11,096 RECRUITED, TWO LESSONS PER WEEK 836 00:27:11,162 --> 00:27:12,497 OVER 8 WEEKS AND HERE'S WHAT 837 00:27:12,564 --> 00:27:12,931 HAPPENED. 838 00:27:12,998 --> 00:27:13,231 INTERESTING. 839 00:27:13,298 --> 00:27:14,566 AS ANOTHER EXAMPLE -- THIS, BY 840 00:27:14,632 --> 00:27:16,234 THE WAY, WAS A BRITISH STUDY. 841 00:27:16,301 --> 00:27:18,103 THE FIRST TWO I TOLD YOU ABOUT 842 00:27:18,169 --> 00:27:19,270 WERE U.S. BUT THEY'RE NOT BEING 843 00:27:19,337 --> 00:27:20,071 PRESENTED AT THIS MEETING. 844 00:27:20,138 --> 00:27:21,673 AND THEN THE LAST ONE, WHICH IS 845 00:27:21,740 --> 00:27:23,108 REALLY COMPLICATED NEUROSCIENCE 846 00:27:23,174 --> 00:27:25,643 BUT I LOVE THIS STUFF, IS 847 00:27:25,710 --> 00:27:26,444 ACTUALLY TRYING TO UNDERSTAND 848 00:27:26,511 --> 00:27:30,215 HOW IS IT THAT MUSIC, OR 849 00:27:30,281 --> 00:27:31,916 AUDITORY TONES, CAN INTERFERE IN 850 00:27:31,983 --> 00:27:33,752 A GOOD WAY WITH A PAIN SIGNAL. 851 00:27:33,818 --> 00:27:35,286 SO HERE IN THIS INSTANCE, THEY 852 00:27:35,353 --> 00:27:37,956 ARE BRINGING ALL THE 853 00:27:38,023 --> 00:27:39,090 TECHNOLOGIES THAT YOU WOULD WANT 854 00:27:39,157 --> 00:27:40,558 TO TRY TO STUDY A MOUSE MODEL IN 855 00:27:40,625 --> 00:27:42,060 TERMS OF THIS IS A TRANSGENIC 856 00:27:42,127 --> 00:27:43,995 MOUSE BUT IT ALSO IS USING 857 00:27:44,062 --> 00:27:46,965 SOMETHING CALLED OPTOGENETICS, 858 00:27:47,032 --> 00:27:48,500 THEY'RE DOING CALCIUM SIGNALING 859 00:27:48,566 --> 00:27:50,035 AND ALL THE REST. 860 00:27:50,101 --> 00:27:51,536 WHAT THEY DISCOVER IS IF YOU USE 861 00:27:51,603 --> 00:27:53,972 THIS RATHER SIMPLE 5-DECIBEL 862 00:27:54,039 --> 00:27:56,241 MUSICAL TONE, THAT YOU CAN 863 00:27:56,307 --> 00:27:57,976 SIGNIFICANTLY REDUCE THE MOUSE'S 864 00:27:58,043 --> 00:27:58,877 SENSITIVITY TO PAIN. 865 00:27:58,943 --> 00:28:00,645 AND THEY CAN TELL YOU WHY, 866 00:28:00,712 --> 00:28:01,613 BECAUSE OF THE CIRCUITS THAT ARE 867 00:28:01,679 --> 00:28:03,615 BEING OBSERVED IN THE PROCESS OF 868 00:28:03,681 --> 00:28:04,249 THIS WORK. 869 00:28:04,315 --> 00:28:05,650 AND THIS WILL BE PRESENTED AT 870 00:28:05,717 --> 00:28:06,851 THIS WORKSHOP, BECAUSE I JUST 871 00:28:06,918 --> 00:28:09,254 DID NOT DO JUSTICE TO IT, BUT ON 872 00:28:09,320 --> 00:28:10,688 SESSION 4, DAY TWO, ONE OF THE 873 00:28:10,755 --> 00:28:11,990 AUTHORS OF THIS PAPER WILL TELL 874 00:28:12,057 --> 00:28:13,191 YOU MORE ABOUT THIS. 875 00:28:13,258 --> 00:28:14,726 I THINK A LOT OF THIS IS SORT OF 876 00:28:14,793 --> 00:28:18,129 THE WAVE OF THE FUTURE OF WHERE 877 00:28:18,196 --> 00:28:22,734 WE'RE GOING IN TERMS OF TAKE TAG 878 00:28:22,801 --> 00:28:24,135 ADVANTAGE TO NOT JUST MAKE 879 00:28:24,202 --> 00:28:25,003 OBSERVATIONS BUT ACTUALLY 880 00:28:25,070 --> 00:28:26,638 UNDERSTAND MECHANISMS AT THE 881 00:28:26,704 --> 00:28:27,906 LEVEL OF CIRCUITS IN THE BRAIN. 882 00:28:27,972 --> 00:28:30,809 SO THOSE ARE FOUR KIND OF FUN 883 00:28:30,875 --> 00:28:31,042 IDEAS. 884 00:28:31,109 --> 00:28:32,343 THE MEETING YOU'RE ABOUT TO GO 885 00:28:32,410 --> 00:28:35,346 THROUGH IS GOING TO BE LAKE 886 00:28:35,413 --> 00:28:36,414 NOTHING I'VE EVER SEEN AND MAYBE 887 00:28:36,481 --> 00:28:36,848 YOU HAVEN'T EITHER. 888 00:28:36,915 --> 00:28:38,817 WE'RE GOING TO TRY TO PACK INTO 889 00:28:38,883 --> 00:28:39,717 THIS SIX SESSIONS, AND THE 890 00:28:39,784 --> 00:28:41,553 NUMBER OF PRESENTATIONS AND 891 00:28:41,619 --> 00:28:42,987 PANEL SPEAKERS, WHEN I FIRST SAW 892 00:28:43,054 --> 00:28:45,924 IT, I SAID, THIS IS NEVER GOING 893 00:28:45,990 --> 00:28:47,392 TO WORK, THIS IS GOING TO TAKE A 894 00:28:47,459 --> 00:28:48,993 WHOLE WEEK TO DO THE FIRST DAY. 895 00:28:49,060 --> 00:28:50,361 SHE ASSURES ME, NO, EVERYBODY IS 896 00:28:50,428 --> 00:28:51,729 GOING TO BE DISCIPLINED, WE'RE 897 00:28:51,796 --> 00:28:52,730 GOING TO MAKE THIS ALL HAPPEN. 898 00:28:52,797 --> 00:28:53,865 BUT YOU ARE GOING TO BE DRINKING 899 00:28:53,932 --> 00:28:55,667 FROM THE FIREHOSE HERE WHEN IT 900 00:28:55,733 --> 00:28:58,269 COMES TO THE KIND OF INFORMATION 901 00:28:58,336 --> 00:28:59,938 ABOUT MUSIC AS MEDICINE. 902 00:29:00,004 --> 00:29:01,172 BY THE WAY, I HAVE TO SAY, I 903 00:29:01,239 --> 00:29:02,140 LOVE THE TITLE. 904 00:29:02,207 --> 00:29:04,843 IT'S NOT MUSIC AND MEDICINE. 905 00:29:04,909 --> 00:29:06,377 IT'S MUSIC AS MEDICINE. 906 00:29:06,444 --> 00:29:07,812 I ASSUME THE WORKING GROUP 907 00:29:07,879 --> 00:29:08,780 THOUGHT A LOT ABOUT PICKING THE 908 00:29:08,847 --> 00:29:10,682 WAY IN WHICH THEY WANTED TO 909 00:29:10,748 --> 00:29:12,283 EXPRESS THE POINT OF WHY WE'RE 910 00:29:12,350 --> 00:29:12,650 ALL HERE. 911 00:29:12,717 --> 00:29:14,185 SO THOSE ARE THE SESSIONS, AND 912 00:29:14,252 --> 00:29:16,321 THEY ARE LINKED PRETTY CLOSELY 913 00:29:16,387 --> 00:29:17,655 WITH THE ORIGINAL 914 00:29:17,722 --> 00:29:19,958 RECOMMENDATIONS OF THAT 2017 915 00:29:20,024 --> 00:29:20,725 WORKSHOP ABOUT WHERE WE SHOULD 916 00:29:20,792 --> 00:29:22,894 BE. 917 00:29:22,961 --> 00:29:26,030 FINALLY, LET ME SAY A BIG THANK 918 00:29:26,097 --> 00:29:27,165 YOU TO OTHER PARTS OF VARIOUS 919 00:29:27,232 --> 00:29:28,533 OTHER INITIATIVES THAT WE WANT 920 00:29:28,600 --> 00:29:29,367 TO INTERACT WITH. 921 00:29:29,434 --> 00:29:30,668 THE BRAIN INITIATIVE AT NIH, 922 00:29:30,735 --> 00:29:32,770 WHICH IS ALSO NOW IN ITS SIXTH 923 00:29:32,837 --> 00:29:35,073 OR SEVENTH YEAR, IS A REALLY 924 00:29:35,140 --> 00:29:37,008 INTENSE INVESTIGATION OF HOW 925 00:29:37,075 --> 00:29:37,876 THOSE 86 BILLION NEURONS BETWEEN 926 00:29:37,942 --> 00:29:40,512 YOUR EARS DO WHAT THEY DO. 927 00:29:40,578 --> 00:29:41,846 WE REALLY WANT TO TRY TO BRING 928 00:29:41,913 --> 00:29:44,883 THIS PROJECT AND BRAIN CLOSER 929 00:29:44,949 --> 00:29:48,586 TOGETHER, AND JOHN, WHO RUNS 930 00:29:48,653 --> 00:29:50,355 THAT, IS ENTHUSIASTIC ABOUT THAT 931 00:29:50,421 --> 00:29:50,922 AS WELL. 932 00:29:50,989 --> 00:29:52,524 LET ME SAY A QUICK WORD ABOUT 933 00:29:52,590 --> 00:29:53,424 POTENTIAL FUTURE DIRECTIONS 934 00:29:53,491 --> 00:29:54,292 ALTHOUGH THAT WAS NOT MY CHARGE, 935 00:29:54,359 --> 00:29:56,161 THAT'S WHAT RENEE IS GOING TO 936 00:29:56,227 --> 00:29:57,362 TALK A BIT MORE ABOUT TOMORROW. 937 00:29:57,428 --> 00:29:58,796 WHERE DO WE THINK, AFTER 938 00:29:58,863 --> 00:30:00,398 SURVEYING WHERE WE'VE BEEN, ARE 939 00:30:00,465 --> 00:30:01,533 AREAS THAT WE MIGHT WANT TO 940 00:30:01,599 --> 00:30:03,801 THINK ABOUT GOING NEXT IN TERMS 941 00:30:03,868 --> 00:30:05,737 OF PARTICULAR PRIORITIES? 942 00:30:05,803 --> 00:30:09,073 I WOULD SAY TECHNOLOGIES. 943 00:30:09,140 --> 00:30:09,941 AGAIN, WE'RE LEARNING SO MUCH 944 00:30:10,008 --> 00:30:11,276 MORE ABOUT HOW TO ACTUALLY 945 00:30:11,342 --> 00:30:12,777 ASSESS WHAT'S HAPPENING AFTER A 946 00:30:12,844 --> 00:30:14,212 MUSIC EXPOSURE, AND SURELY IT'S 947 00:30:14,279 --> 00:30:16,948 GOING TO BE GOOD TO KNOW MORE 948 00:30:17,015 --> 00:30:18,683 ABOUT THAT. 949 00:30:18,750 --> 00:30:19,784 I STILL WOULD LOVE TO SEE US 950 00:30:19,851 --> 00:30:21,019 BRING THE WHOLE FIELD OF MUSIC 951 00:30:21,085 --> 00:30:22,287 THERAPY AND NEUROSCIENCE EVEN 952 00:30:22,353 --> 00:30:22,854 CLOSER TOGETHER. 953 00:30:22,921 --> 00:30:24,289 THAT'S BEEN PART OF THE DREAM 954 00:30:24,355 --> 00:30:27,058 ALL ALONG, TO MAKE IT POSSIBLE 955 00:30:27,125 --> 00:30:28,426 FOR THE REMARKABLE THINGS THAT 956 00:30:28,493 --> 00:30:30,161 MUSIC THERAPY CAN ACHIEVE TO BE 957 00:30:30,228 --> 00:30:31,696 BETTER UNDERSTOOD IN TERMS OF 958 00:30:31,763 --> 00:30:34,699 HOW THOSE ARE AFFECTING PATHWAYS 959 00:30:34,766 --> 00:30:35,867 IN THE BRAIN, AND HOW WE CAN 960 00:30:35,934 --> 00:30:38,736 LEARN FOR THAT IN ORDER TO MAKE 961 00:30:38,803 --> 00:30:39,804 MUSIC THERAPY EVEN MORE 962 00:30:39,871 --> 00:30:42,307 SUCCESSFUL IN THE FUTURE. 963 00:30:42,373 --> 00:30:43,942 WE NEED TO HAVE A BETTER 964 00:30:44,008 --> 00:30:44,876 UNDERSTANDING OF CULTURAL 965 00:30:44,943 --> 00:30:45,176 CONTEXT. 966 00:30:45,243 --> 00:30:47,979 I THINK WE HAVEN'T SO FAR REALLY 967 00:30:48,046 --> 00:30:49,280 DELVED INTO THE DIFFERENT KINDS 968 00:30:49,347 --> 00:30:50,315 OF MUSICAL EXPERIENCES THAT 969 00:30:50,381 --> 00:30:51,950 PEOPLE HAVE, AND THERE'S A LOT 970 00:30:52,016 --> 00:30:53,151 WE COULD DO THERE. 971 00:30:53,218 --> 00:30:54,652 AND THEN IMPLEMENTATION SCIENCE, 972 00:30:54,719 --> 00:30:57,188 REALLY, LET'S SEE HOW THIS WORKS 973 00:30:57,255 --> 00:30:58,723 IN TERMS OF REAL WORLD 974 00:30:58,790 --> 00:30:59,691 APPLICATIONS, AND OBVIOUSLY THE 975 00:30:59,757 --> 00:31:01,226 PEOPLE WHO ARE THINKING ABOUT 976 00:31:01,292 --> 00:31:02,126 REIMBURSEMENT ARE GOING TO WANT 977 00:31:02,193 --> 00:31:04,529 TO SEE THAT DATA TO HAVE YOU 978 00:31:04,596 --> 00:31:07,298 ACTUALLY CHANGE OUTCOMES BY THIS 979 00:31:07,365 --> 00:31:08,967 IN A REAL WORLD KIND OF SETTING. 980 00:31:09,033 --> 00:31:10,101 THEN FINALLY, INTEGRATION WITH 981 00:31:10,168 --> 00:31:12,303 OTHER ART-BASED INTERVENTIONS, 982 00:31:12,370 --> 00:31:14,272 WE FOCUS PRIMARILY ON MUSIC 983 00:31:14,339 --> 00:31:15,340 BECAUSE IT SEEMED LIKE IT WAS 984 00:31:15,406 --> 00:31:17,008 SUCH A FERTILE AREA, BUT 985 00:31:17,075 --> 00:31:18,209 OBVIOUSLY ALSO RHYTHM HAS GOTTEN 986 00:31:18,276 --> 00:31:19,310 IN THERE AND DANCE HAS BEEN 987 00:31:19,377 --> 00:31:20,311 TALKED ABOUT. 988 00:31:20,378 --> 00:31:21,813 AND WHAT ABOUT THE VISUAL ARTS? 989 00:31:21,879 --> 00:31:23,248 WE WANT TO TRY TO FIGURE OUT HOW 990 00:31:23,314 --> 00:31:25,516 WE CAN MAKE THE MOST OF ALL 991 00:31:25,583 --> 00:31:26,417 THOSE OPPORTUNITIES WITHOUT 992 00:31:26,484 --> 00:31:27,986 GETTING SO DIFFUSE THAT WE END 993 00:31:28,052 --> 00:31:30,455 UP NOT MAKING ENOUGH PROGRESS. 994 00:31:30,521 --> 00:31:31,456 SO THOSE ARE ALL THINGS WE'RE 995 00:31:31,522 --> 00:31:32,557 GOING TO BE TALKING ABOUT. 996 00:31:32,624 --> 00:31:33,891 FINALLY, I JUST WANT TO SAY A 997 00:31:33,958 --> 00:31:35,960 BIG THANK YOU TO THE SPONSORS OF 998 00:31:36,027 --> 00:31:39,130 THIS PARTICULAR WORKSHOP, 999 00:31:39,197 --> 00:31:40,765 PARTICULARLY A BIG SHOUT OUT TO 1000 00:31:40,832 --> 00:31:41,633 NCCIH, BECAUSE THEY'VE DONE A 1001 00:31:41,699 --> 00:31:42,834 LOT HERE, BUT YOU CAN SEE ALL OF 1002 00:31:42,900 --> 00:31:45,036 THE OTHER INSTITUTES THAT HAVE 1003 00:31:45,103 --> 00:31:45,903 CONTRIBUTED FINANCIALLY TO OUR 1004 00:31:45,970 --> 00:31:47,005 BEING ABLE TO PUT THIS ON. 1005 00:31:47,071 --> 00:31:48,740 THIS WAS NOT A CHEAP WORKSHOP TO 1006 00:31:48,806 --> 00:31:50,842 PUT TOGETHER, AND NIH HAD TO DIG 1007 00:31:50,908 --> 00:31:52,910 A LITTLE DEEP IN A TIME OF NOT 1008 00:31:52,977 --> 00:31:53,911 EXACTLY EASY BUDGETS TO MAKE 1009 00:31:53,978 --> 00:31:54,779 THIS HAPPEN. 1010 00:31:54,846 --> 00:31:56,948 AND THEN A BIG SHOUT OUT TO THE 1011 00:31:57,015 --> 00:31:59,250 PLANNING COMMITTEE, THE SESSION 1012 00:31:59,317 --> 00:31:59,851 CO-CHAIRS. 1013 00:31:59,917 --> 00:32:01,019 YOU'LL BE HEARING FROM THE 1014 00:32:01,085 --> 00:32:02,153 CO-CHAIRS IN THE COURSE OF THIS. 1015 00:32:02,220 --> 00:32:03,454 I'M NOT GOING TO READ OFF THE 1016 00:32:03,521 --> 00:32:05,156 NAMES BUT THESE PEOPLE HAVE 1017 00:32:05,223 --> 00:32:06,591 WORKED REALLY HARD TO PUT 1018 00:32:06,658 --> 00:32:07,125 TOGETHER THIS. 1019 00:32:07,191 --> 00:32:09,427 AND THEN THE MUSIC AS MEDICINE 1020 00:32:09,494 --> 00:32:12,497 WORKSHOP LOGISTICS TEAM, LISTED 1021 00:32:12,563 --> 00:32:13,564 HERE, ALSO PEOPLE WHO HAVE 1022 00:32:13,631 --> 00:32:15,433 WORKED EXTREMELY HARD TO GET US 1023 00:32:15,500 --> 00:32:16,534 HERE. 1024 00:32:16,601 --> 00:32:18,369 AND WITH THAT, I THINK I SHOULD 1025 00:32:18,436 --> 00:32:21,039 SAY THANK YOU TO ALL OF YOU FOR 1026 00:32:21,105 --> 00:32:23,541 BEING HERE, AND LET'S GET ON 1027 00:32:23,608 --> 00:32:25,310 WITH WHAT IS GOING TO BE A 1028 00:32:25,376 --> 00:32:26,244 REMARKABLY INTERESTING AND 1029 00:32:26,311 --> 00:32:27,712 INTENSE COUPLE OF DAYS. 1030 00:32:27,779 --> 00:32:37,955 [APPLAUSE] 1031 00:32:39,424 --> 00:32:40,491 CATHERINE, CAN I TURN IT BACK TO 1032 00:32:40,558 --> 00:32:40,925 YOU? 1033 00:32:40,992 --> 00:32:46,497 COME ON UP. 1034 00:32:46,564 --> 00:32:48,599 >> THANK YOU SO MUCH, 1035 00:32:48,666 --> 00:32:48,900 DR. COLLINS. 1036 00:32:48,966 --> 00:32:50,702 THAT WAS A WONDERFUL, WONDERFUL 1037 00:32:50,768 --> 00:32:51,969 LOOK AT THE ACCOMPLISHMENTS SO 1038 00:32:52,036 --> 00:32:52,270 FAR. 1039 00:32:52,337 --> 00:32:54,372 NOW WE'RE GOING TO TURN BACK AND 1040 00:32:54,439 --> 00:32:57,241 WE'RE GOING TO GO TO A VERY 1041 00:32:57,308 --> 00:32:58,576 IMPORTANT PERSON. 1042 00:32:58,643 --> 00:33:01,512 IT IS DR. MARIA ROSARIO JACKSON, 1043 00:33:01,579 --> 00:33:04,349 WHO IS GOING TO OFFER A FEW 1044 00:33:04,415 --> 00:33:06,517 ADDITIONAL OPENING REMARKS, AND 1045 00:33:06,584 --> 00:33:07,819 WE'RE GOING TO WELCOME HER TO 1046 00:33:07,885 --> 00:33:09,620 THE STAGE. 1047 00:33:09,687 --> 00:33:11,255 SHE IS THE CHAIR OF THE NATIONAL 1048 00:33:11,322 --> 00:33:13,424 ENDOWMENT FOR THE ARTS, AND 1049 00:33:13,491 --> 00:33:15,860 WE'RE SO PLEASED TO HAVE HER 1050 00:33:15,927 --> 00:33:17,228 TODAY WITH US TO SHARE A FEW 1051 00:33:17,295 --> 00:33:18,563 SPECIAL REMARKS. 1052 00:33:18,629 --> 00:33:20,765 DR. JACKSON. 1053 00:33:20,832 --> 00:33:27,572 [APPLAUSE] 1054 00:33:27,638 --> 00:33:28,906 >> THANK YOU, CATHERINE, AND 1055 00:33:28,973 --> 00:33:30,842 THANK YOU FOR YOUR FLEXIBILITY. 1056 00:33:30,908 --> 00:33:33,144 GOOD MORNING, EVERYONE. 1057 00:33:33,211 --> 00:33:34,011 GOOD MORNING. 1058 00:33:34,078 --> 00:33:36,481 I'M DELIGHTED TO BE WITH YOU 1059 00:33:36,547 --> 00:33:39,217 TODAY, AND SO EXCITED ABOUT THIS 1060 00:33:39,283 --> 00:33:40,718 COLLABORATION BETWEEN THE 1061 00:33:40,785 --> 00:33:41,652 NATIONAL INSTITUTES OF HEALTH 1062 00:33:41,719 --> 00:33:42,353 AND THE NATIONAL ENDOWMENT FOR 1063 00:33:42,420 --> 00:33:43,654 THE ARTS. 1064 00:33:43,721 --> 00:33:46,491 ON THIS REALLY IMPORTANT 1065 00:33:46,557 --> 00:33:48,693 CONVENING, MUSIC AS MEDICINE, 1066 00:33:48,760 --> 00:33:51,062 MUSIC IS ONE OF THE MOST 1067 00:33:51,129 --> 00:33:53,464 POWERFUL AND TRANSFORMATIVE 1068 00:33:53,531 --> 00:33:54,365 FORCES AVAILABLE TO US. 1069 00:33:54,432 --> 00:33:56,734 IT'S A UNIVERSAL WAY IN WHICH WE 1070 00:33:56,801 --> 00:33:59,604 EXPRESS OUR FULL HUMANITY, TELL 1071 00:33:59,670 --> 00:34:03,574 OUR STORIES, HOLD NUANCE, 1072 00:34:03,641 --> 00:34:05,410 TRANSCEND BOUNDARIES. 1073 00:34:05,476 --> 00:34:08,146 THE EXPERIENCE IN MAKING OF 1074 00:34:08,212 --> 00:34:10,748 MUSIC IMPACTS US INTELLECTUALLY, 1075 00:34:10,815 --> 00:34:12,283 PHYSICALLY, EMOTIONALLY AND 1076 00:34:12,350 --> 00:34:16,020 SPISPIRITUALLY AND I'M REALLY 1077 00:34:16,087 --> 00:34:17,455 GRATEFUL TO SHARE A FEW THOUGHTS 1078 00:34:17,522 --> 00:34:18,756 WITH YOU TODAY ABOUT WHAT THE 1079 00:34:18,823 --> 00:34:22,393 NEA IS DOING TO HELP ADVANCE 1080 00:34:22,460 --> 00:34:23,261 WELL-BEING FOR ALL AMERICANS. 1081 00:34:23,327 --> 00:34:24,562 I HOPE IT WON'T SURPRISE YOU TO 1082 00:34:24,629 --> 00:34:26,197 HEAR THAT THE ARTS ENDOWMENT HAS 1083 00:34:26,264 --> 00:34:27,031 WORKED AT THE INTERSECTION OF 1084 00:34:27,098 --> 00:34:28,933 ARTS AND HEALTH, WELL-BEING AND 1085 00:34:29,000 --> 00:34:30,802 WELLNESS FOR MANY YEARS. 1086 00:34:30,868 --> 00:34:32,236 IN SOME WAYS THAT ARE OBVIOUS 1087 00:34:32,303 --> 00:34:33,538 AND OTHER WAYS THAT ARE LESS 1088 00:34:33,604 --> 00:34:35,072 VISIBLE. 1089 00:34:35,139 --> 00:34:38,142 TOGETHER WITH NIH, THE NEA 1090 00:34:38,209 --> 00:34:39,477 COFUNDS STUDIES ON THE BENEFITS 1091 00:34:39,544 --> 00:34:41,979 OF MUSIC THERAPIES AND 1092 00:34:42,046 --> 00:34:42,780 MUSIC-BASED HEALTH 1093 00:34:42,847 --> 00:34:43,514 INTERVENTIONS, AND WE'RE ALSO 1094 00:34:43,581 --> 00:34:45,750 THRILLED TO SUPPORT A NEWLY 1095 00:34:45,817 --> 00:34:48,453 ESTABLISHED NIH MUSIC RESEARCH 1096 00:34:48,519 --> 00:34:49,220 NETWORK. 1097 00:34:49,287 --> 00:34:51,589 I REALLY VALUE OUR LONG TERM 1098 00:34:51,656 --> 00:34:52,824 RECORD OF COLLABORATION WITH 1099 00:34:52,890 --> 00:34:54,158 NIH, AND I'M PROUD OF THE 1100 00:34:54,225 --> 00:34:57,094 STRIDES THAT WE'RE MAKING WITH 1101 00:34:57,161 --> 00:34:58,863 OUR PARTNERS AT THE UNIVERSITY 1102 00:34:58,930 --> 00:34:59,864 OF CALIFORNIA SAN FRANCISCO, THE 1103 00:34:59,931 --> 00:35:02,333 KENNEDY CENTER, AND RENEE 1104 00:35:02,400 --> 00:35:03,901 FLEMING AS PART OF THE SOUND 1105 00:35:03,968 --> 00:35:04,769 HEALTH NETWORK WHICH YOU HEARD A 1106 00:35:04,836 --> 00:35:07,071 LITTLE BIT ABOUT EARLIER. 1107 00:35:07,138 --> 00:35:09,373 THE INITIATIVE PROMOTES PUBLIC 1108 00:35:09,440 --> 00:35:10,775 KNOWLEDGE AND AWARENESS ABOUT 1109 00:35:10,842 --> 00:35:13,244 THE CONNECTIONS BETWEEN MUSIC 1110 00:35:13,311 --> 00:35:15,046 AND HEALTH, AND LEADERS FROM THE 1111 00:35:15,112 --> 00:35:16,180 SOUND HEALTH NETWORK ARE IN THE 1112 00:35:16,247 --> 00:35:17,548 ROOM AND I HOPE YOU GET A CHANCE 1113 00:35:17,615 --> 00:35:20,051 TO TALK WITH THEM THROUGHOUT THE 1114 00:35:20,117 --> 00:35:20,351 CONVENING. 1115 00:35:20,418 --> 00:35:22,553 THE NEA IS ALSO DEDICATED TO 1116 00:35:22,620 --> 00:35:23,521 HELPING IMPROVE HEALTH, 1117 00:35:23,588 --> 00:35:26,023 WELL-BEING AND QUALITY OF LIFE 1118 00:35:26,090 --> 00:35:27,358 FOR MILITARY CONNECTED 1119 00:35:27,425 --> 00:35:29,861 POPULATIONS THROUGH OUR CREATIVE 1120 00:35:29,927 --> 00:35:34,799 FORCES, NEA, HEALING, THE ARTS 1121 00:35:34,866 --> 00:35:35,132 NETWORK. 1122 00:35:35,199 --> 00:35:38,202 IT PROVIDES INSPIRATION AND 1123 00:35:38,269 --> 00:35:39,504 INSIGHTS FOR WORK THROUGHOUT THE 1124 00:35:39,570 --> 00:35:41,272 COUNTRY AS COMMUNITIES RALLY TO 1125 00:35:41,339 --> 00:35:42,273 ADDRESS TRAUMA IN MANY FORMS. 1126 00:35:42,340 --> 00:35:45,209 AS PART OF OUR INVESTMENT IN 1127 00:35:45,276 --> 00:35:46,544 RESEARCH ON CREATIVE ARTS 1128 00:35:46,611 --> 00:35:47,845 THERAPISTS THIS FALL WE 1129 00:35:47,912 --> 00:35:49,514 ANNOUNCED SUPPORT FOR A 1130 00:35:49,580 --> 00:35:50,481 RANDOMIZED CONTROLLED TRIAL OF 1131 00:35:50,548 --> 00:35:52,250 MUSIC THERAPY FOR U.S. VETERANS 1132 00:35:52,316 --> 00:35:53,017 WITH CHRONIC PAIN. 1133 00:35:53,084 --> 00:35:54,652 THIS IS A COLLABORATION WITH THE 1134 00:35:54,719 --> 00:35:56,187 HENRY M. JACKSON FOUNDATION FOR 1135 00:35:56,254 --> 00:35:57,388 THE ADVANCEMENT OF MILITARY MED 1136 00:35:57,455 --> 00:36:00,791 SIRNTION AND THROUGH RESEARCH IN 1137 00:36:00,858 --> 00:36:02,026 SUPPORT OF A RANGE OF PROJECTS 1138 00:36:02,093 --> 00:36:02,994 IN COMMUNITIES AROUND THE 1139 00:36:03,060 --> 00:36:05,162 COUNTRY, WE ALSO PLANNED TO 1140 00:36:05,229 --> 00:36:06,597 DELVE INTO UNDERSTANDING OTHER 1141 00:36:06,664 --> 00:36:08,065 POSSIBLE CONTRIBUTIONS OF ARTS 1142 00:36:08,132 --> 00:36:09,433 PARTICIPATION AS IT PERTAINS TO 1143 00:36:09,500 --> 00:36:12,737 SOCIAL FABRIC, MENTAL HEALTH, 1144 00:36:12,803 --> 00:36:15,273 AND EVEN OUR DEMOCRACY. 1145 00:36:15,339 --> 00:36:17,141 ONE CONVICTION I'VE HAD FOR THE 1146 00:36:17,208 --> 00:36:19,110 ENTIRETY OF MY CAREER IS THAT 1147 00:36:19,176 --> 00:36:20,745 NONE OF THE THINGS THAT WE 1148 00:36:20,811 --> 00:36:22,947 ASPIRE TO AS A NATION OF 1149 00:36:23,014 --> 00:36:25,983 OPPORTUNITY ARE POSSIBLE OR 1150 00:36:26,050 --> 00:36:26,918 DURABLE WITHOUT UNDERSTANDING 1151 00:36:26,984 --> 00:36:29,186 THE ROLE OF THE ARTS IN RELATED 1152 00:36:29,253 --> 00:36:30,922 WORK IN ALL ASPECTS OF OUR LIVES 1153 00:36:30,988 --> 00:36:31,923 AND COMMUNITIES. 1154 00:36:31,989 --> 00:36:33,891 IN THE SPIRIT WITH A BROAD LENS 1155 00:36:33,958 --> 00:36:35,660 FOR UNDERSTANDING WHAT 1156 00:36:35,726 --> 00:36:37,628 CONTRIBUTES TO HEALTH, THE NEA 1157 00:36:37,695 --> 00:36:39,397 IS ACTING AS A CATALYST, 1158 00:36:39,463 --> 00:36:41,032 CONNECTOR AND CON VEERING TO 1159 00:36:41,098 --> 00:36:43,367 BRING LEADERS ACROSS ALL SECTORS 1160 00:36:43,434 --> 00:36:45,403 AND DIMENSIONS FROM THE FEDERAL 1161 00:36:45,469 --> 00:36:47,405 FAMILY INTO AN INAUGURAL SUMMIT 1162 00:36:47,471 --> 00:36:48,806 COASTED BY THE WHITE HOUSE 1163 00:36:48,873 --> 00:36:49,607 DOMESTIC POLICY COUNCIL. 1164 00:36:49,674 --> 00:36:52,577 THE GATHERINGS ENTITLED HEALING, 1165 00:36:52,643 --> 00:36:53,945 BRIDGING, THRIVING, A SUMMIT ON 1166 00:36:54,011 --> 00:36:55,546 ARTS AND CULTURE AND OUR 1167 00:36:55,613 --> 00:36:56,847 COMMUNITIES, AND IT WILL TAKE 1168 00:36:56,914 --> 00:36:59,183 PLACE ON JANUARY 30TH TO DISCUSS 1169 00:36:59,250 --> 00:37:01,786 THE INTEGRAL ROLE OF THE ARTS IN 1170 00:37:01,852 --> 00:37:03,955 OUR EVERYDAY LIVED EXPERIENCES 1171 00:37:04,021 --> 00:37:06,390 IN HEALTH, OUR BUILT-IN NATURAL 1172 00:37:06,457 --> 00:37:07,458 ENVIRONMENTS, AND OUR CIVIC 1173 00:37:07,525 --> 00:37:09,994 INFRASTRUCTURE. 1174 00:37:10,061 --> 00:37:14,165 I BELIEVE THAT THEY'RE MOST 1175 00:37:14,231 --> 00:37:15,166 POWERFUL, THE ARTS DON'T EXIST 1176 00:37:15,232 --> 00:37:16,567 IN A BUBBLE, IN ISOLATION, 1177 00:37:16,634 --> 00:37:18,436 THEY'RE NOT JUST EXTRA. 1178 00:37:18,502 --> 00:37:20,404 OUR ABILITY TO LIVE ARTFUL LIVES 1179 00:37:20,471 --> 00:37:21,939 IS ESSENTIAL TO ADVANCING OUR 1180 00:37:22,006 --> 00:37:23,941 FULL HUMANITY, AND OUR HEALTH 1181 00:37:24,008 --> 00:37:25,910 AND WELLNESS OF THE NATION. 1182 00:37:25,977 --> 00:37:28,312 I'M DEEPLY INSPIRED BY THE 1183 00:37:28,379 --> 00:37:30,314 ADVANCEMENT OF RESEARCH ON MUSIC 1184 00:37:30,381 --> 00:37:33,584 AND HEALTH IN THE LAST SEVERAL 1185 00:37:33,651 --> 00:37:34,819 YEARS BY WHAT'S POSSIBLE NOW AND 1186 00:37:34,885 --> 00:37:37,421 IN THE YEARS AHEAD. 1187 00:37:37,488 --> 00:37:38,823 I'M INSPIRED BY THIS CONVENING, 1188 00:37:38,889 --> 00:37:40,758 THE RANGE OF WORK AND IDEAS TO 1189 00:37:40,825 --> 00:37:43,761 BE DISCUSSED LIKE WHAT FRANCIS 1190 00:37:43,828 --> 00:37:46,731 COLLINS JUST SHARED, THANK YOU, 1191 00:37:46,797 --> 00:37:49,133 DR. COLLINS, AND EXPERIENCES 1192 00:37:49,200 --> 00:37:51,869 PLANNED INCLUDING CONTRIBUTIONS 1193 00:37:51,936 --> 00:37:58,776 BY SUNIL EYNGAR, AND JEN CHANG, 1194 00:37:58,843 --> 00:38:00,945 NEA'S WHITE HOUSE LIAISON, 1195 00:38:01,012 --> 00:38:06,550 ALONGSIDE HER MOTHER, DR. LISA 1196 00:38:06,617 --> 00:38:07,551 WONG, A SPECIAL THING. 1197 00:38:07,618 --> 00:38:08,853 SO PLEASE KNOW THE ARTS 1198 00:38:08,919 --> 00:38:10,287 ENDOWMENT IS SO PROUD TO WORK 1199 00:38:10,354 --> 00:38:12,356 ALONGSIDE YOU AS WE BUILD ON 1200 00:38:12,423 --> 00:38:13,691 EXISTING WORK AND ALSO BREAK NEW 1201 00:38:13,758 --> 00:38:13,891 PATHS. 1202 00:38:13,958 --> 00:38:15,092 THANK YOU FOR LISTENING AND FOR 1203 00:38:15,159 --> 00:38:16,260 ALL THAT YOU DO, AND I'LL TURN 1204 00:38:16,327 --> 00:38:17,228 IT BACK TO CATHERINE. 1205 00:38:17,294 --> 00:38:25,436 [APPLAUSE] 1206 00:38:25,503 --> 00:38:26,737 >> THANK YOU, DR. JACKSON. 1207 00:38:26,804 --> 00:38:28,305 WE'RE GOING TO TAKE JUST ONE 1208 00:38:28,372 --> 00:38:30,174 MORE SET OF WONDERFUL SPECIAL 1209 00:38:30,241 --> 00:38:31,442 REMARKS AND IT'S GOING TO BE 1210 00:38:31,509 --> 00:38:34,645 WITH DR. BRUCE TROMBERG, THE 1211 00:38:34,712 --> 00:38:35,446 DIRECTOR OF THE NATIONAL 1212 00:38:35,513 --> 00:38:37,715 INSTITUTE OF BIOMEDICAL IMAGING 1213 00:38:37,782 --> 00:38:40,685 AND BIOENGINEERING. 1214 00:38:40,751 --> 00:38:45,289 DR. TROMBERG. 1215 00:38:45,356 --> 00:38:49,860 >> OKAY, THANK YOU. 1216 00:38:49,927 --> 00:38:51,062 IS IT OKAY? 1217 00:38:51,128 --> 00:38:51,962 EVERYONE CAN HEAR ME? 1218 00:38:52,029 --> 00:38:52,430 GREAT. 1219 00:38:52,496 --> 00:38:53,397 ALL RIGHT. 1220 00:38:53,464 --> 00:38:54,131 WELL, GOOD MORNING. 1221 00:38:54,198 --> 00:38:56,100 MY NAME IS BRUCE TROMBERG. 1222 00:38:56,167 --> 00:38:58,069 I'M THE DIRECTOR OF THE NATIONAL 1223 00:38:58,135 --> 00:39:00,371 INSTITUTE FOR BIOMEDICAL IMAGING 1224 00:39:00,438 --> 00:39:02,139 AND BIOENGINEERING. 1225 00:39:02,206 --> 00:39:03,674 WE ALSO CALL THIS THE 1226 00:39:03,741 --> 00:39:04,475 ENGINEERING INSTITUTE AT THE 1227 00:39:04,542 --> 00:39:05,543 NIH. 1228 00:39:05,609 --> 00:39:08,179 SO IT'S MY HONOR AND GREAT 1229 00:39:08,245 --> 00:39:09,413 PLEASURE TO BE HERE TODAY, AND 1230 00:39:09,480 --> 00:39:11,482 THANK YOU TO THE ORGANIZERS, 1231 00:39:11,549 --> 00:39:14,885 THANK YOU TO THE NCCIH IN 1232 00:39:14,952 --> 00:39:16,153 PARTICULAR FOR ORGANIZING THIS 1233 00:39:16,220 --> 00:39:17,688 ENTIRE MEETING. 1234 00:39:17,755 --> 00:39:19,690 I'LL TRY TO STAY MORE OR LESS IN 1235 00:39:19,757 --> 00:39:22,093 THE KEY OF FRANCIS AS I MAKE 1236 00:39:22,159 --> 00:39:24,829 THIS LITTLE BRIDGE BETWEEN THESE 1237 00:39:24,895 --> 00:39:27,064 REMARKS AND THE SCIENCE OF 1238 00:39:27,131 --> 00:39:28,566 MUSIC, WHICH IS THE NEXT SESSION 1239 00:39:28,632 --> 00:39:29,734 THAT'S COMING UP. 1240 00:39:29,800 --> 00:39:32,603 A BRIDGE IS A MUSICAL CHANGE OF 1241 00:39:32,670 --> 00:39:34,505 PACE AND IT SUMMARIZES HOW A 1242 00:39:34,572 --> 00:39:36,574 BIOMEDICAL ENGINEER, OR AT LEAST 1243 00:39:36,640 --> 00:39:39,443 THIS ONE, THINKS ABOUT MUSIC. 1244 00:39:39,510 --> 00:39:41,645 LIKE MUSICIANS, MANY OF US IN 1245 00:39:41,712 --> 00:39:45,249 BIOMEDICAL ENGINEERING 1246 00:39:45,316 --> 00:39:45,850 CONTROL -- MASTER INSTRUMENTS 1247 00:39:45,916 --> 00:39:48,185 THAT GENERATE AND RECEIVE 1248 00:39:48,252 --> 00:39:51,455 POWERFUL INVISIBLE FORMS OF 1249 00:39:51,522 --> 00:39:52,790 ENERGY, A STREAM OF WAVE 1250 00:39:52,857 --> 00:39:53,991 PATTERNS OR SIGNALS OSCILLATING 1251 00:39:54,058 --> 00:39:55,092 OVER A WIDE RANGE OF 1252 00:39:55,159 --> 00:39:56,727 FREQUENCIES. 1253 00:39:56,794 --> 00:39:58,295 THAT'S ALSO AN ENGINEER'S 1254 00:39:58,362 --> 00:39:59,697 WORKING DEFINITION OF MUSIC. 1255 00:39:59,764 --> 00:40:01,699 WE ALSO CALL THOSE SIGNALS. 1256 00:40:01,766 --> 00:40:03,634 WE LOVE TO MODULATE AND CONTROL 1257 00:40:03,701 --> 00:40:05,503 THE AMPLITUDE PHASE AND 1258 00:40:05,569 --> 00:40:06,937 FREQUENCY OF THESE ENERGY 1259 00:40:07,004 --> 00:40:09,039 GENERATING SOURCES. 1260 00:40:09,106 --> 00:40:11,408 USING COMPLEX AND BEAUTIFUL TIME 1261 00:40:11,475 --> 00:40:13,110 VARYING PATTERNS, AND COMBINING 1262 00:40:13,177 --> 00:40:15,412 WAVES SO THEY PRODUCE 1263 00:40:15,479 --> 00:40:17,882 SPECTACULAR HARMONIC EFFECTS. 1264 00:40:17,948 --> 00:40:19,250 INTERMITTENT COHERENCES. 1265 00:40:19,316 --> 00:40:22,052 OUR GOAL IS TO MEASURE VERY 1266 00:40:22,119 --> 00:40:24,121 PRECISELY AND IN REALTIME THE 1267 00:40:24,188 --> 00:40:26,857 OFTEN DRAMATIC AND PROFOUND 1268 00:40:26,924 --> 00:40:28,192 EFFECT OUR FAVORITE WAVES HAVE 1269 00:40:28,259 --> 00:40:30,294 ON THE HUMAN BODY. 1270 00:40:30,361 --> 00:40:31,829 TUNING THESE ENERGY SOURCES TO 1271 00:40:31,896 --> 00:40:34,665 JUST THE RIGHT FREQUENCIES CAN 1272 00:40:34,732 --> 00:40:36,534 MAKE THEM RESONANT WITH 1273 00:40:36,600 --> 00:40:38,269 FUNDAMENTAL LIFE PROCESSES SUCH 1274 00:40:38,335 --> 00:40:40,571 AS THE MOVEMENT OF PROTONS AND 1275 00:40:40,638 --> 00:40:42,439 ELECTRONS IN BIOMOLECULES, OR 1276 00:40:42,506 --> 00:40:44,842 THE MECHANICAL DISPLACEMENT OF 1277 00:40:44,909 --> 00:40:48,813 CELLS P PERFECTLY POISED IN A 1278 00:40:48,879 --> 00:40:49,213 MATRIX. 1279 00:40:49,280 --> 00:40:50,981 THE BODY IS A BRILLIANT 1280 00:40:51,048 --> 00:40:51,849 TRANSDUCER. 1281 00:40:51,916 --> 00:40:53,184 CONVERTING THESE EXTERNALLY 1282 00:40:53,250 --> 00:40:55,619 GENERATED WAVES INTO POWERFUL, 1283 00:40:55,686 --> 00:40:58,022 COORDINATED SOURCES OF INTERNAL 1284 00:40:58,088 --> 00:41:01,192 ENERGY THAT DRIVE ESSENTIAL LIFE 1285 00:41:01,258 --> 00:41:02,626 PROCESSES, LIKE SENSORY 1286 00:41:02,693 --> 00:41:04,195 ACTIVATION, MOVEMENT, AND GENE 1287 00:41:04,261 --> 00:41:05,930 EXPRESSION. 1288 00:41:05,996 --> 00:41:09,867 SOME WAVES ACTUALLY REFLECT OR 1289 00:41:09,934 --> 00:41:11,202 TRANSMIT OR PASS THROUGH THE 1290 00:41:11,268 --> 00:41:13,070 BODY, REVIEWING WHAT'S DEEP 1291 00:41:13,137 --> 00:41:15,039 INSIDE, BENEATH THE SURFACE, AND 1292 00:41:15,105 --> 00:41:18,676 EXPANDING OUR CAPACITY TO SEE. 1293 00:41:18,742 --> 00:41:20,211 IF ALL OF THIS SOUNDS LIKE 1294 00:41:20,277 --> 00:41:21,412 MASTERS OF THE UNIVERSE, WELL, 1295 00:41:21,478 --> 00:41:23,480 YOU'RE CORRECT. 1296 00:41:23,547 --> 00:41:25,816 MUSICIANS ARE THE ORIGINAL 1297 00:41:25,883 --> 00:41:27,685 COMBINATION OF SUPERHERO AND 1298 00:41:27,751 --> 00:41:30,120 BIOMEDICAL ENGINEER. 1299 00:41:30,187 --> 00:41:32,056 CONTROLLING ENERGY FOR LIFE AND 1300 00:41:32,122 --> 00:41:35,426 HEALTH WITH POWERFUL INSTRUMENTS 1301 00:41:35,492 --> 00:41:36,827 AT THE POINT OF CARE, WHEREVER 1302 00:41:36,894 --> 00:41:39,864 WE NEED IT. 1303 00:41:39,930 --> 00:41:43,100 FROM THE PURE HEALING 440 HERTZ 1304 00:41:43,167 --> 00:41:44,768 TONE OF THE MIDDLE A TO THE 1305 00:41:44,835 --> 00:41:45,669 COMPLICATED TIME FREQUENCY 1306 00:41:45,736 --> 00:41:47,838 VARIATIONS OF A SYMPHONY, 1307 00:41:47,905 --> 00:41:49,173 DESIGNED TO DELIVER PRECISE 1308 00:41:49,240 --> 00:41:51,775 MOMENTS OF COHERENCE, BOTH 1309 00:41:51,842 --> 00:41:53,644 RHYTHMICALLY AND BIOLOGICALLY, 1310 00:41:53,711 --> 00:41:56,614 MUSIC TRULY WORKS AS MEDICINE. 1311 00:41:56,680 --> 00:41:57,915 ALTHOUGH WE HAVE A DEEP 1312 00:41:57,982 --> 00:41:59,583 UNDERSTANDING OF THE PHYSICS OF 1313 00:41:59,650 --> 00:42:01,252 WAVES, WE KNOW LITTLE ABOUT THE 1314 00:42:01,318 --> 00:42:03,554 BIOLOGICAL MECHANISMS OF HOW 1315 00:42:03,621 --> 00:42:06,257 HUMANS GENERATE, RECEIVE, AND 1316 00:42:06,323 --> 00:42:08,392 PROCESS MUSIC. 1317 00:42:08,459 --> 00:42:10,227 A UNIVERSAL FORM OF ENERGY-BASED 1318 00:42:10,294 --> 00:42:11,862 COMMUNICATION THAT HAS SUCH AN 1319 00:42:11,929 --> 00:42:14,732 ENORMOUS AND ENDURING EFFECT. 1320 00:42:14,798 --> 00:42:16,700 THE NEXT SESSION, THE SCIENCE OF 1321 00:42:16,767 --> 00:42:18,669 MUSIC, WILL REVEAL SOME OF THESE 1322 00:42:18,736 --> 00:42:19,670 MYSTERIES. 1323 00:42:19,737 --> 00:42:21,538 THIS RAPIDLY GROWING FIELD HAS 1324 00:42:21,605 --> 00:42:23,507 NEVER BEEN MORE URGENT AND 1325 00:42:23,574 --> 00:42:24,074 IMPORTANT. 1326 00:42:24,141 --> 00:42:26,010 IT'S A GATEWAY TO A DEEPER 1327 00:42:26,076 --> 00:42:28,012 UNDERSTANDING OF FUNDAMENTAL 1328 00:42:28,078 --> 00:42:29,647 INTEGRATED LIFE PROCESSES, AND 1329 00:42:29,713 --> 00:42:31,215 IT CAN INSPIRE THE DEVELOPMENT 1330 00:42:31,282 --> 00:42:33,918 OF POWERFUL NEW BIOENGINEERING 1331 00:42:33,984 --> 00:42:36,620 TOOLS AND TECHNOLOGIES THAT CAN 1332 00:42:36,687 --> 00:42:38,622 TRANSFORM OUR MENTAL, PHYSICAL 1333 00:42:38,689 --> 00:42:40,190 AND EMOTIONAL HEALTH. 1334 00:42:40,257 --> 00:42:40,491 THANK YOU. 1335 00:42:40,557 --> 00:42:48,399 [APPLAUSE] 1336 00:42:48,465 --> 00:42:50,134 >> THANK YOU, DR. TROMBERG. 1337 00:42:50,200 --> 00:42:52,770 THOSE WERE SOME FANTASTIC REPLA 1338 00:42:52,836 --> 00:42:55,539 REMARKS ON THE INTERSECTION OF 1339 00:42:55,606 --> 00:42:56,540 ENGINEERING AND MUSIC. 1340 00:42:56,607 --> 00:42:58,509 NOW I AM PLEASED TO WELCOME TO 1341 00:42:58,575 --> 00:42:59,710 THE STAGE ONE OF OUR CO-CHAIRS. 1342 00:42:59,777 --> 00:43:01,245 I WANT TO INTRODUCE OUR 1343 00:43:01,312 --> 00:43:02,680 CO-CHAIRS FOR SESSION ONE, 1344 00:43:02,746 --> 00:43:05,916 RESEARCH ON THE SCIENCE OF MUS 1345 00:43:05,983 --> 00:43:06,283 MUSIC. 1346 00:43:06,350 --> 00:43:07,651 OUR CO-CHAIRS FOR THIS SESSION 1347 00:43:07,718 --> 00:43:09,153 ARE DR. ROBERT RIDDLE FROM THE 1348 00:43:09,219 --> 00:43:10,054 NATIONAL INSTITUTE OF 1349 00:43:10,120 --> 00:43:11,522 NEUROLOGICAL DISORDERS AND 1350 00:43:11,588 --> 00:43:14,425 STROKE, DR. DAVID LEITMAN, FROM 1351 00:43:14,491 --> 00:43:16,060 THE NATIONAL INSTITUTE OF MENTAL 1352 00:43:16,126 --> 00:43:16,527 HEALTH. 1353 00:43:16,593 --> 00:43:20,464 AND DR. DANIEL LEVITIN, FROM 1354 00:43:20,531 --> 00:43:21,598 MINERVA UNIVERSITY AND MCGILL 1355 00:43:21,665 --> 00:43:21,899 UNIVERSITY. 1356 00:43:21,966 --> 00:43:23,667 AND WE ALSO WANT TO BRING TO THE 1357 00:43:23,734 --> 00:43:26,403 STAGE, I BELIEVE, DR. LEVITIN IS 1358 00:43:26,470 --> 00:43:36,780 GOING TO START SESSION ONE. 1359 00:43:36,847 --> 00:43:38,916 [APPLAUSE] 1360 00:43:38,983 --> 00:43:40,751 >> WELCOME TO EVERYONE FOR 1361 00:43:40,818 --> 00:43:42,753 SESSION ONE. 1362 00:43:42,820 --> 00:43:44,054 I AM GOING TO GIVE A TALK BUT I 1363 00:43:44,121 --> 00:43:46,156 HAVE VERY LITTLE TO SAY BECAUSE 1364 00:43:46,223 --> 00:43:46,890 DR. COLLINS SAID ALMOST 1365 00:43:46,957 --> 00:43:50,427 EVERYTHING THAT I WANTED TO SAY, 1366 00:43:50,494 --> 00:43:51,795 BUT IT'S MY DISTINCT PLEASURE 1367 00:43:51,862 --> 00:43:53,864 BEFORE ANY OF THAT TO INTRODUCE 1368 00:43:53,931 --> 00:44:01,872 SHELLY BERG, MY DEAR FRIEND, DRD 1369 00:44:01,939 --> 00:44:03,273 PROFESSOR OF MUSE SICK AT THE 1370 00:44:03,340 --> 00:44:04,575 FROST SCHOOL OF MUSIC AT 1371 00:44:04,641 --> 00:44:05,242 UNIVERSITY OF MIAMI. 1372 00:44:05,309 --> 00:44:06,377 HE HAS PERFORMED AND 1373 00:44:06,443 --> 00:44:07,544 COLLABORATED WITH HUNDREDS OF 1374 00:44:07,611 --> 00:44:10,547 RENOWNED ARTISTS, INCLUDING 1375 00:44:10,614 --> 00:44:13,751 RENEE FLEMING, GLORIA ESTEFAN, 1376 00:44:13,817 --> 00:44:16,020 FERRELL WILLIAMS AND ARTURO 1377 00:44:16,086 --> 00:44:16,587 SANDOVAL. 1378 00:44:16,653 --> 00:44:17,454 SHELLY, TAKE IT AWAY. 1379 00:44:17,521 --> 00:44:19,490 [APPLAUSE] 1380 00:44:19,556 --> 00:44:24,128 >> THANK YOU, DAN. 1381 00:44:24,194 --> 00:44:26,630 OKAY FIRST OF ALL, A LITTLE 1382 00:44:26,697 --> 00:44:31,235 EXPERIMENT. 1383 00:44:31,301 --> 00:44:33,203 [PLAYING MUSICAL SCALE] 1384 00:44:33,270 --> 00:44:34,438 PRETTY POWERFUL IMPULSE, ISN'T 1385 00:44:34,505 --> 00:44:35,305 IT? 1386 00:44:35,372 --> 00:44:36,607 BUT NOT NECESSARILY IF YOU'RE A 1387 00:44:36,673 --> 00:44:42,880 JAZZ MUSICIAN. 1388 00:44:42,946 --> 00:44:44,114 ♪ 1389 00:44:44,181 --> 00:44:46,150 >> THE URGE TO GO TO THE NEXT 1390 00:44:46,216 --> 00:44:47,484 NOTE JUST DISAPPEARED, DIDN'T 1391 00:44:47,551 --> 00:44:47,818 IT? 1392 00:44:47,885 --> 00:44:49,353 YEAH. 1393 00:44:49,420 --> 00:44:51,922 MUSIC IN ITS CONTEXT IS AMAZING 1394 00:44:51,989 --> 00:44:53,390 IN THE EFFECT THAT IT HAS ON 1395 00:44:53,457 --> 00:44:53,891 PEOPLE. 1396 00:44:53,957 --> 00:44:54,958 I REALIZE THIS IS A TALK OF 1397 00:44:55,025 --> 00:44:57,928 PREACHING TO THE CHOIR, AND THEN 1398 00:44:57,995 --> 00:44:59,396 I REALIZED, WHY IS THERE A 1399 00:44:59,463 --> 00:45:00,464 SAYING PREACHING TO THE CHOIR? 1400 00:45:00,531 --> 00:45:01,432 BECAUSE IF YOU PREACH, YOU NEED 1401 00:45:01,498 --> 00:45:02,866 A CHOIR. 1402 00:45:02,933 --> 00:45:05,169 YOU KNOW, YOU'RE TRYING TO GET 1403 00:45:05,235 --> 00:45:08,705 AN AUDIENCE TO TAP INTO 1404 00:45:08,772 --> 00:45:09,673 INTANGIBLE. 1405 00:45:09,740 --> 00:45:11,575 AND BELIEVE IN IT AND HAVE FAITH 1406 00:45:11,642 --> 00:45:13,343 IN IT AND BE UPLIFTED BY IT. 1407 00:45:13,410 --> 00:45:14,645 WELL, THAT'S WHAT MUSIC DOES, 1408 00:45:14,711 --> 00:45:17,081 BETTER THAN ANYTHING. 1409 00:45:17,147 --> 00:45:19,616 SO WE MUSICIANS WHO STUDY THIS 1410 00:45:19,683 --> 00:45:20,551 THING, AND THERE ARE PROBABLY 1411 00:45:20,617 --> 00:45:21,618 MANY OF THEM IN THE ROOM, WE 1412 00:45:21,685 --> 00:45:22,886 LEARN THERE ARE A LOT OF DEVICES 1413 00:45:22,953 --> 00:45:24,421 THAT HAVE MUSICAL EFFECTS THAT 1414 00:45:24,488 --> 00:45:25,789 HAVE THERAPEUTIC EFFECTS, THAT 1415 00:45:25,856 --> 00:45:29,059 ADD UP TO THIS THING THAT WE DO. 1416 00:45:29,126 --> 00:45:31,161 I'LL MENTION ONE. 1417 00:45:31,228 --> 00:45:33,864 THE OPAGATURA OR SUSPENSION, TWO 1418 00:45:33,931 --> 00:45:35,666 SIDES OF THE SAME COIN. 1419 00:45:35,732 --> 00:45:36,967 THAT'S WHEN A NOTE ABOVE OR 1420 00:45:37,034 --> 00:45:38,268 BELOW THE NOTE OF THE CHORD 1421 00:45:38,335 --> 00:45:39,903 TAKES PRECEDENCE BEFORE YOU GET 1422 00:45:39,970 --> 00:45:43,340 TO THE RESOLUTION. 1423 00:45:43,407 --> 00:45:44,842 SO I USED TO JOKE THERE COULDN'T 1424 00:45:44,908 --> 00:45:48,612 HAVE BEEN BARRY MANILOW WITHOUT 1425 00:45:48,679 --> 00:45:51,215 THE OPOGOTURA. 1426 00:45:51,281 --> 00:45:53,917 HE NEVER WOULD HAVE SUNG JOAT I 1427 00:45:53,984 --> 00:45:56,887 LOVE YOU, YES I LOVE YOU, I LOVE 1428 00:45:56,954 --> 00:45:57,321 YOU ♪ 1429 00:45:57,387 --> 00:46:00,390 THOSE ARE ALL CHORD TONES BUT HE 1430 00:46:00,457 --> 00:46:02,126 MIGHT HAVE SUPG, ♪ 1431 00:46:02,192 --> 00:46:04,027 I LOVE YOU, YES I LOVE YOU, I 1432 00:46:04,094 --> 00:46:05,762 LOVE YOU, OH YEAH, I LOVE YOU ♪ 1433 00:46:05,829 --> 00:46:10,634 THAT'S WHAT THE APOGOTURA DOES. 1434 00:46:10,701 --> 00:46:12,169 I THINK CHAI COUGHS KEY KNEW IT 1435 00:46:12,236 --> 00:46:13,804 WELL IN ROMEO AND JULIET. 1436 00:46:13,871 --> 00:46:16,006 HEAR IT? 1437 00:46:16,073 --> 00:46:23,180 >> NOTE: I HADN'T PRACTICED 1438 00:46:23,247 --> 00:46:23,514 THIS. 1439 00:46:23,580 --> 00:46:25,048 AND THEN LOOK AT THAT NOTE YOU 1440 00:46:25,115 --> 00:46:26,517 DIDN'T EXPECT IN THE KEY. 1441 00:46:26,583 --> 00:46:27,751 BUT THERE ARE MORE IN THIS. 1442 00:46:27,818 --> 00:46:32,322 THERE'S ALSO THIS. 1443 00:46:32,389 --> 00:46:42,900 ♪ CAN YOU FEEL THE LONGING IN 1444 00:46:51,408 --> 00:46:52,976 THAT? 1445 00:46:53,043 --> 00:46:55,379 WOW! 1446 00:46:55,445 --> 00:46:57,080 THAT'S THERAPEUTIC RIGHT THERE. 1447 00:46:57,147 --> 00:46:58,081 IT'S AMAZING TO ME. 1448 00:46:58,148 --> 00:47:00,551 AND THERE ARE LOTS OF OTHER 1449 00:47:00,617 --> 00:47:04,021 DEVICES. 1450 00:47:04,087 --> 00:47:05,556 SIMPLE NOTES LIKE -- BUT WHAT IF 1451 00:47:05,622 --> 00:47:08,825 YOU CHANGE THE CHORD? 1452 00:47:08,892 --> 00:47:17,067 ♪ SO MANY CONTEXTS. 1453 00:47:17,134 --> 00:47:18,368 TO THE SAME NOTES. 1454 00:47:18,435 --> 00:47:19,870 AND THAT'S -- THAT ALLOWS US TO 1455 00:47:19,937 --> 00:47:23,974 DIG DEEPER AND DEAPER INTO DEEPO 1456 00:47:24,041 --> 00:47:24,575 EMOTIONS. 1457 00:47:24,641 --> 00:47:25,676 SO 27 YEARS AGO, A FEW MILES 1458 00:47:25,742 --> 00:47:28,212 FROM HERE IN WASHINGTON, D.C., I 1459 00:47:28,278 --> 00:47:31,949 WAS AT ANOTHER CONFERENCE, 1460 00:47:32,015 --> 00:47:33,350 ADVOCACY FOR MUSIC EDUCATION, 1461 00:47:33,417 --> 00:47:35,385 AND I MET MY WIFE JULIA AT THAT 1462 00:47:35,452 --> 00:47:37,688 CONFERENCE. 1463 00:47:37,754 --> 00:47:39,423 AND THAT WAS A CHEMICAL 1464 00:47:39,489 --> 00:47:41,625 REACTION, IT WAS IMMEDIATE. 1465 00:47:41,692 --> 00:47:43,026 BUT I DIDN'T KNOW IF I COULD 1466 00:47:43,093 --> 00:47:46,930 EVER ACTUALLY BE WITH JULIA, I 1467 00:47:46,997 --> 00:47:48,899 JUST THOUGHT WOW, AT LEAST 1468 00:47:48,966 --> 00:47:50,467 THERE'S SOMEBODY LIKE THAT THAT 1469 00:47:50,534 --> 00:47:51,034 EXISTS IN THE WORLD. 1470 00:47:51,101 --> 00:47:53,537 AND I WENT HOME AND WROTE THIS 1471 00:47:53,604 --> 00:47:55,072 SONG IN ABOUT AS LONG AS IT TOOK 1472 00:47:55,138 --> 00:47:55,739 TO PLAY IT. 1473 00:47:55,806 --> 00:47:57,641 I KNOW THAT, YOU KNOW, REPEATING 1474 00:47:57,708 --> 00:47:59,142 A MELODY AND CHANGING THE CHORD 1475 00:47:59,209 --> 00:48:02,012 UP A HALF STEP OR REPEATING A 1476 00:48:02,079 --> 00:48:03,480 MELODY AND MAKING THE CHORD 1477 00:48:03,547 --> 00:48:05,549 DARKER, GOING TO THE FOUR CHORD 1478 00:48:05,616 --> 00:48:06,984 MAKES IT WARMER, I KNOW ALL 1479 00:48:07,050 --> 00:48:08,218 THOSE THINGS, BUT HOW MANY OF 1480 00:48:08,285 --> 00:48:09,186 THOSE THINGS WAS I THINKING 1481 00:48:09,253 --> 00:48:10,587 ABOUT WHEN I COMPOSED IT? 1482 00:48:10,654 --> 00:48:11,822 NONE. 1483 00:48:11,888 --> 00:48:14,191 THAT'S WHY I SAY WE HAVE TWO 1484 00:48:14,258 --> 00:48:15,592 WELLS, A SPIRITUAL WELL AND A 1485 00:48:15,659 --> 00:48:16,126 TECHNICAL WELL. 1486 00:48:16,193 --> 00:48:17,394 AND YOU LEARN ALL THE STUFF IN 1487 00:48:17,461 --> 00:48:18,795 THE TECHNICAL WELL, BUT WE DO 1488 00:48:18,862 --> 00:48:19,763 MUSIC FROM THE SPIRITUAL WELL, 1489 00:48:19,830 --> 00:48:21,565 AND WE UNCONSCIOUSLY DRAW FROM 1490 00:48:21,632 --> 00:48:22,232 THE TECHNICAL WELL. 1491 00:48:22,299 --> 00:48:23,934 SO I WROTE THIS SONG, IMAGINING 1492 00:48:24,001 --> 00:48:26,069 WHAT IT WOULD BE LIKE IF JULIA 1493 00:48:26,136 --> 00:48:27,504 AND I WERE TOGETHER. 1494 00:48:27,571 --> 00:48:28,605 IT'S GOT A GREAT TITLE. 1495 00:48:28,672 --> 00:48:30,707 IT'S CALLED "JULIA." 1496 00:48:30,774 --> 00:48:31,041 [LAUGHTER] 1497 00:48:31,108 --> 00:48:32,476 YOU CAN EVEN HEAR HER NAME IN 1498 00:48:32,542 --> 00:48:32,843 IT. 1499 00:48:32,909 --> 00:48:34,911 BUT YOU'LL HEAR THE MOTIVE OF 1500 00:48:34,978 --> 00:48:37,014 HER NAME AND YOU'LL HEAR IT OVER 1501 00:48:37,080 --> 00:48:38,315 DIFFERENT CHORDZ. 1502 00:48:38,382 --> 00:48:39,716 AND OVER DIFFERENT THINGS AS I 1503 00:48:39,783 --> 00:48:40,550 WAS JUST EXPLORING WHAT THAT 1504 00:48:40,617 --> 00:48:41,551 WOULD BE LIKE, AND THEN YOU 1505 00:48:41,618 --> 00:48:43,387 COULD HEAR WHERE IT GOES TO A 1506 00:48:43,453 --> 00:48:45,856 PARALLEL MINOR, A TOALITY, AND 1507 00:48:45,922 --> 00:48:46,823 THAT'S THE ONLY PLACE WHERE 1508 00:48:46,890 --> 00:48:50,594 THERE ARE APPOGGIATURAS. 1509 00:48:50,661 --> 00:48:52,362 JULIA WAS SUCH A CERTAINTY SHE 1510 00:48:52,429 --> 00:48:53,964 DIDN'T NEED IT, BUT THE MINOR 1511 00:48:54,031 --> 00:48:55,098 PLACES ARE KIND OF A DREAMY 1512 00:48:55,165 --> 00:48:57,200 THING, YOU CAN KIND OF CONOTE IT 1513 00:48:57,267 --> 00:48:57,968 HOWEVER YOU'D LIKE. 1514 00:48:58,035 --> 00:49:00,270 BUT BASED ON MY REMARKS, I DON'T 1515 00:49:00,337 --> 00:49:01,838 WANT TO SAY ANYTHING MORE, I 1516 00:49:01,905 --> 00:49:04,574 WILL JUST PLAY JULIA AND MAYBE 1517 00:49:04,641 --> 00:49:07,210 IT WILL BE A THERAPEUTIC WAY TO 1518 00:49:07,277 --> 00:49:12,149 START THE SESSION. 1519 00:49:26,530 --> 00:49:36,006 ♪ 1520 00:49:36,073 --> 00:49:46,183 ♪ ♪ 1521 00:51:51,842 --> 00:52:01,852 ♪ 1522 00:52:13,497 --> 00:52:23,707 [APPLAUSE] 1523 00:52:23,773 --> 00:52:25,208 >> THANK YOU, SHELLY. 1524 00:52:25,275 --> 00:52:26,743 WHAT A GREAT AND BEAUTIFUL WAY 1525 00:52:26,810 --> 00:52:29,713 TO START OFF THE SESSION. 1526 00:52:29,779 --> 00:52:30,480 AND THE DAY. 1527 00:52:30,547 --> 00:52:33,483 AND I THINK WE'VE GOT OUR WORK 1528 00:52:33,550 --> 00:52:35,118 CUT OUT TRYING TO UNDERSTAND 1529 00:52:35,185 --> 00:52:37,187 EXACTLY HOW THAT AFFECTS US, ALL 1530 00:52:37,254 --> 00:52:38,188 THE DIFFERENT WAYS IT AFFECTS 1531 00:52:38,255 --> 00:52:39,256 US. 1532 00:52:39,322 --> 00:52:40,090 MY NAME IS BOB RIDDLE. 1533 00:52:40,156 --> 00:52:45,562 I'M A PROGRAM DIRECTOR AT NINDS. 1534 00:52:45,629 --> 00:52:47,531 AS CATHERINE WAS MENTIONING. 1535 00:52:47,597 --> 00:52:51,167 AND TODAY I ALONG WITH DAVID 1536 00:52:51,234 --> 00:52:53,570 LEITMAN AND DANIEL LEVITIN ARE 1537 00:52:53,637 --> 00:52:54,838 GOING TO BE CO-CHAIRING THE 1538 00:52:54,905 --> 00:52:55,939 FIRST SESSION WHICH IS RESEARCH 1539 00:52:56,006 --> 00:52:59,009 ON THE SCIENCE OF MUSIC. 1540 00:52:59,075 --> 00:53:01,411 WE'RE REALLY GOING TO BE 1541 00:53:01,478 --> 00:53:03,480 FOCUSING ON UNDERSTANDING THE 1542 00:53:03,547 --> 00:53:05,916 BASIC AND MECHANISTIC MEANS BY 1543 00:53:05,982 --> 00:53:06,917 WHICH MUSIC AFFECTS US, AND 1544 00:53:06,983 --> 00:53:08,251 WE'RE HOPING THAT WILL BE A 1545 00:53:08,318 --> 00:53:10,353 REALLY NICE FOUNDATION AND KIND 1546 00:53:10,420 --> 00:53:12,422 OF EFFECT, AS ALL OF THESE 1547 00:53:12,489 --> 00:53:14,190 SESSIONS ARE CONNECTED BUT AT 1548 00:53:14,257 --> 00:53:15,158 LEAST GIVE US SOMETHING TO START 1549 00:53:15,225 --> 00:53:15,659 THINKING ABOUT. 1550 00:53:15,725 --> 00:53:17,427 SO IF I COULD HAVE THE FIRST 1551 00:53:17,494 --> 00:53:20,130 SLIDE. 1552 00:53:20,196 --> 00:53:21,131 SO TODAY WE'RE GOING TO BE 1553 00:53:21,197 --> 00:53:24,568 HAVING A SERIES OF SPEAKERS THAT 1554 00:53:24,634 --> 00:53:26,970 ARE GOING TO SPEAK ABOUT 10 1555 00:53:27,037 --> 00:53:27,938 MINUTES. 1556 00:53:28,004 --> 00:53:29,806 WE ASK THAT YOU HOLD OFF ON THE 1557 00:53:29,873 --> 00:53:30,840 QUESTIONS UNTIL THE END OF THAT 1558 00:53:30,907 --> 00:53:31,141 SESSION. 1559 00:53:31,207 --> 00:53:33,476 THERE WILL BE AMPLE TIME FOR 1560 00:53:33,543 --> 00:53:37,781 QUESTIONS, THEN THERE'S GOING TO 1561 00:53:37,847 --> 00:53:40,383 BE A PANELIST SESSION, THAT'S 1562 00:53:40,450 --> 00:53:41,051 WHERE EVERYTHING IS GOING TO 1563 00:53:41,117 --> 00:53:42,953 KIND OF OPEN UP AND WE WILL TAKE 1564 00:53:43,019 --> 00:53:44,554 MORE QUESTIONS AND TRY TO WEAVE 1565 00:53:44,621 --> 00:53:45,422 EVERYTHING TOGETHER. 1566 00:53:45,488 --> 00:53:48,258 SO TODAY ONE OF OUR CO-CHAIRS, 1567 00:53:48,325 --> 00:53:49,659 DAN LEVITIN, WILL BE THE FIRST 1568 00:53:49,726 --> 00:53:51,294 SPEAKER. 1569 00:53:51,361 --> 00:53:54,197 AND THEN -- AND YOU CAN SEE, HE 1570 00:53:54,264 --> 00:53:59,002 IS AT MINERVA MCGILL, MIMI KAO 1571 00:53:59,069 --> 00:54:03,473 IS AT TUFTS, THEN MALINDA 1572 00:54:03,540 --> 00:54:04,608 MCPHERSON. 1573 00:54:04,674 --> 00:54:07,777 MALINDA IS AT UCSD, I'VE GOT TO 1574 00:54:07,844 --> 00:54:09,646 KEEP TO THAT SCHEDULE. 1575 00:54:09,713 --> 00:54:15,919 AMY BELLEAMY BELFI IS AT MISSOUI 1576 00:54:15,986 --> 00:54:17,587 UNIVERSITY AND EDWARD CHANG IS 1577 00:54:17,654 --> 00:54:18,421 AT UCSF. 1578 00:54:18,488 --> 00:54:19,789 SO JUST A POINT FOR THE 1579 00:54:19,856 --> 00:54:21,658 SPEAKERS, I DO HAVE THE CLOCK 1580 00:54:21,725 --> 00:54:21,992 THERE. 1581 00:54:22,058 --> 00:54:23,293 WHENEVER YOU HEAR THE DING, 1582 00:54:23,360 --> 00:54:24,260 HOPEFULLY YOU DON'T HEAR THE 1583 00:54:24,327 --> 00:54:25,662 DING, THAT MEANS YOUR TIME IS 1584 00:54:25,729 --> 00:54:27,063 ABSOLUTELY UP. 1585 00:54:27,130 --> 00:54:28,798 AND SO I'LL BE OVER HERE TRYING 1586 00:54:28,865 --> 00:54:32,669 TO BE POLITELY REMINDING YOU OF 1587 00:54:32,736 --> 00:54:34,104 THE TIME, BUT HOPEFULLY IT'S 1588 00:54:34,170 --> 00:54:36,106 JUST ALL GOING TO GO SMOOTHLY AS 1589 00:54:36,172 --> 00:54:38,074 IT'S BEEN GOING, I BELIEVE WE'RE 1590 00:54:38,141 --> 00:54:38,842 ACTUALLY AHEAD OF SCHEDULE A 1591 00:54:38,908 --> 00:54:40,744 LITTLE BIT, WHICH I THINK IS A 1592 00:54:40,810 --> 00:54:42,812 FIRST FOR AN NIH MEETING. 1593 00:54:42,879 --> 00:54:44,714 AND SO WITH THAT, I WILL JUST 1594 00:54:44,781 --> 00:54:47,584 HAND THE STAGE OVER TO DAN 1595 00:54:47,651 --> 00:54:49,686 LEVITIN, WHO WILL BE OUR FIRST 1596 00:54:49,753 --> 00:54:49,919 SPEAKER. 1597 00:54:49,986 --> 00:54:50,253 THANK YOU. 1598 00:54:50,320 --> 00:54:56,359 [APPLAUSE] 1599 00:54:56,426 --> 00:54:57,894 >> SINCE WE'RE RUNNING AHEAD OF 1600 00:54:57,961 --> 00:54:59,996 SCHEDULE, I'D JUST LIKE TO USE 1601 00:55:00,063 --> 00:55:01,531 10 SECONDS TO SAY I COULDN'T BE 1602 00:55:01,598 --> 00:55:03,867 MORE DELIGHTED WITH THE 1603 00:55:03,933 --> 00:55:05,368 PANELISTS WE WERE ABLE TO GET TO 1604 00:55:05,435 --> 00:55:08,471 FLY IN HERE FOR A SHORT AMOUNT 1605 00:55:08,538 --> 00:55:09,706 OF TIME JUST TO MEET WITH ALL OF 1606 00:55:09,773 --> 00:55:10,774 YOU AND TO LISTEN TO WHAT YOU 1607 00:55:10,840 --> 00:55:11,441 HAVE TO SAY. 1608 00:55:11,508 --> 00:55:13,910 WE HAVE AN ALL-STAR SESSION ONE 1609 00:55:13,977 --> 00:55:16,613 PANEL, A DREAM TEAM, EACH OF 1610 00:55:16,680 --> 00:55:17,514 YOU, THANK YOU FOR COMING. 1611 00:55:17,580 --> 00:55:19,649 I'VE BEEN SO LOOKING FORWARD TO 1612 00:55:19,716 --> 00:55:20,083 THIS. 1613 00:55:20,150 --> 00:55:27,724 AND I'D ALSO LIKE TO CEDE 1614 00:55:27,791 --> 00:55:29,426 15 SECONDS OF MY TIME JUST TO 1615 00:55:29,492 --> 00:55:29,993 APPRECIATE SHELLY BERG. 1616 00:55:30,060 --> 00:55:35,432 [APPLAUSE] 1617 00:55:35,498 --> 00:55:37,934 I'M GOING TO TRY TO GIVE A QUICK 1618 00:55:38,001 --> 00:55:39,636 OVERVIEW ABOUT WHAT WE KNOW 1619 00:55:39,703 --> 00:55:40,637 ABOUT MUSIC AND THE BRAIN AND 1620 00:55:40,704 --> 00:55:42,272 TRY NOT TO STEP ON ANY OF THE 1621 00:55:42,338 --> 00:55:46,409 THINGS THAT FRANCIS SAID. 1622 00:55:46,476 --> 00:55:48,244 BUT ONE THING THAT HE DID SAY, 1623 00:55:48,311 --> 00:55:50,213 NOT THIS MORNING BUT I THINK IS 1624 00:55:50,280 --> 00:55:51,281 IMPORTANT FOR ALL OF US TO HEAR, 1625 00:55:51,347 --> 00:55:53,950 WHEN THIS WHOLE INITIATIVE 1626 00:55:54,017 --> 00:55:56,152 STARTED, FRANCIS GAVE SOME WORDS 1627 00:55:56,219 --> 00:55:58,955 THAT I THINK CAPTURE WHY WE'RE 1628 00:55:59,022 --> 00:56:01,124 HERE TODAY AND WHAT WE HOPE TO 1629 00:56:01,191 --> 00:56:02,058 ACCOMPLISH. 1630 00:56:02,125 --> 00:56:03,226 SOLVING HEALTH PROBLEMS WITH 1631 00:56:03,293 --> 00:56:05,895 MUSIC RATHER THAN WITH DRUGS, 1632 00:56:05,962 --> 00:56:07,497 PROVIDING THERAPY THAT IS 1633 00:56:07,564 --> 00:56:08,565 SPIRITUALLY UPLIFTING AND 1634 00:56:08,631 --> 00:56:09,666 JOYFUL. 1635 00:56:09,733 --> 00:56:11,868 NOW, IF THAT ISN'T A GOOD 1636 00:56:11,935 --> 00:56:14,037 MANDATE, I DON'T KNOW WHAT IS. 1637 00:56:14,104 --> 00:56:16,239 SO WHAT DO WE KNOW ABOUT MUSIC 1638 00:56:16,306 --> 00:56:16,906 AND THE BRAIN? 1639 00:56:16,973 --> 00:56:18,641 WELL, FOR ONE THING, MUSIC IS 1640 00:56:18,708 --> 00:56:19,008 BILATERAL. 1641 00:56:19,075 --> 00:56:20,810 20 YEARS AGO, WE'D TALK ABOUT 1642 00:56:20,877 --> 00:56:22,979 REGIONS OF THE BRAIN THAT WERE 1643 00:56:23,046 --> 00:56:23,780 RESPONSIBLE FOR PARTICULAR 1644 00:56:23,847 --> 00:56:26,816 COGNITIVE FUNCTIONS, BUT IN THE 1645 00:56:26,883 --> 00:56:27,817 LAST FIVE TO SEVEN YEARS, WE'VE 1646 00:56:27,884 --> 00:56:29,052 COME TO UNDERSTAND THAT THESE 1647 00:56:29,119 --> 00:56:30,887 OPERATIONS OCCUR IN SPATIALLY 1648 00:56:30,954 --> 00:56:32,522 DISTRIBUTED NETWORKS. 1649 00:56:32,589 --> 00:56:36,626 CIRCUITS THAT CONNECT DIFFERENT 1650 00:56:36,693 --> 00:56:37,260 COMPUTATIONAL HUBS THROUGHOUT 1651 00:56:37,327 --> 00:56:37,927 THE BRAIN. 1652 00:56:37,994 --> 00:56:39,429 STILL, IT CAN BE USEFUL TO TALK 1653 00:56:39,496 --> 00:56:40,630 ABOUT THE LOCATIONS OF SOME OF 1654 00:56:40,697 --> 00:56:43,466 THESE COMPUTATIONAL HUBS BECAUSE 1655 00:56:43,533 --> 00:56:45,001 FROM A CLINICAL STANDPOINT, 1656 00:56:45,068 --> 00:56:47,237 DAMAGE TO THESE HUBS CAN CAUSE 1657 00:56:47,303 --> 00:56:48,638 IMPAIRMENTS IN SPECIFIC 1658 00:56:48,705 --> 00:56:49,139 FUNCTIONS. 1659 00:56:49,205 --> 00:56:50,373 WHAT YOU'RE LOOKING AT HERE, BY 1660 00:56:50,440 --> 00:56:52,776 THE WAY, IS STING'S BRAIN, WHEN 1661 00:56:52,842 --> 00:56:56,146 HE CAME INTO THE LABORATORY. 1662 00:56:56,212 --> 00:56:57,580 ONE IMPORTANT POINT IS THAT THE 1663 00:56:57,647 --> 00:56:59,783 POPULATIONS OF NEURONS IN 1664 00:56:59,849 --> 00:57:06,689 VARIOUS REGIONS FIRE IN SYNCH 1665 00:57:06,756 --> 00:57:07,991 SYNCHRONY TO THE TEMPLE OF 1666 00:57:08,057 --> 00:57:09,459 MUSIC, TO THE BEAT. 1667 00:57:09,526 --> 00:57:10,860 ATHLETES FIGURED THIS OUT A LONG 1668 00:57:10,927 --> 00:57:12,495 TIME AGO, ESPECIALLY RUNNERS. 1669 00:57:12,562 --> 00:57:16,366 IF THEY LISTEN TO MUSIC WITH A 1670 00:57:16,432 --> 00:57:18,134 TEMPO SLIGHTLY FASTER THAN THEIR 1671 00:57:18,201 --> 00:57:20,537 NATURAL RUNNING GAIT, THEY CAN 1672 00:57:20,603 --> 00:57:23,106 INCREASE THEIR SPEED BECAUSE 1673 00:57:23,173 --> 00:57:27,477 THEY BOOTSTRAP ON THESE NEURAL 1674 00:57:27,544 --> 00:57:28,711 SYNCRO KNEES. 1675 00:57:28,778 --> 00:57:32,315 ANOTHER IMPORTANT FINDING, 1676 00:57:32,382 --> 00:57:33,616 INTERSUBJECT SYNCHRONIZATION IN 1677 00:57:33,683 --> 00:57:36,953 THREE PRIMARY BRAIN REGIONS, 1678 00:57:37,020 --> 00:57:40,557 INSULAR CORTEX, INFERIOR FRONTAL 1679 00:57:40,623 --> 00:57:43,293 GYRUS, HESCHEL'S GYRUS. 1680 00:57:43,359 --> 00:57:44,994 WHEN PEOPLE LISTEN TO MUSIC 1681 00:57:45,061 --> 00:57:46,529 TOGETHER, THEIR BRAINWAVES 1682 00:57:46,596 --> 00:57:47,230 LITERALLY SYNCHRONIZE. 1683 00:57:47,297 --> 00:57:48,331 GETTING TO THE COMPUTATIONAL 1684 00:57:48,398 --> 00:57:49,332 HUBS, THIS IS AN OVERVIEW OF 1685 00:57:49,399 --> 00:57:49,766 THEM. 1686 00:57:49,833 --> 00:57:51,434 IT'S A LOT TO TAKE IN IN ONE 1687 00:57:51,501 --> 00:57:51,634 SLIDE. 1688 00:57:51,701 --> 00:57:52,769 I'LL BE HAPPY TO PROVIDE THIS AS 1689 00:57:52,836 --> 00:57:55,605 A HANDOUT OR EMAIL TO ANYONE 1690 00:57:55,672 --> 00:57:59,108 WHO'S INTERESTED, BUT I'LL START 1691 00:57:59,175 --> 00:58:00,276 BUILDING IT UP FOR YOU. 1692 00:58:00,343 --> 00:58:02,712 MUSIC PROCESSING STARTS HERE. 1693 00:58:02,779 --> 00:58:06,149 IN THE AUDITORY CORTEX. 1694 00:58:06,216 --> 00:58:07,217 FROM HERE, THE SIGNAL IS SENT TO 1695 00:58:07,283 --> 00:58:10,720 A SET OF SPECIAL PURPOSE 1696 00:58:10,787 --> 00:58:12,956 PROCESSING CIRCUITS THAT 1697 00:58:13,022 --> 00:58:15,491 SEPARATELY EXTRACT PITCH, 1698 00:58:15,558 --> 00:58:18,695 LOUDNESS, TEMPO, TAMBER, MELODY 1699 00:58:18,761 --> 00:58:22,832 AND SO OH, AND T ON, AND THOSE S 1700 00:58:22,899 --> 00:58:24,000 ARE COMBINED LATER. 1701 00:58:24,067 --> 00:58:26,502 WHATEVER IT IS IN MUSIC THAT'S 1702 00:58:26,569 --> 00:58:27,237 ENGAGING, EMOTIONAL OR SOCIAL, 1703 00:58:27,303 --> 00:58:28,738 FOR INSTANCE, IS PROBABLY NOT 1704 00:58:28,805 --> 00:58:30,607 ONE OF THOSE BUILDING BLOCKS. 1705 00:58:30,673 --> 00:58:32,508 IT'S NOT SIMPLY RHYTHM OR 1706 00:58:32,575 --> 00:58:33,843 SPECIAL FREQUENCIES. 1707 00:58:33,910 --> 00:58:36,312 IT IS THE END STAGE OF A NUMBER 1708 00:58:36,379 --> 00:58:38,348 OF DIFFERENT ELEMENTS THAT COME 1709 00:58:38,414 --> 00:58:41,985 TOGETHER TO MAKE IT SO. 1710 00:58:42,051 --> 00:58:44,053 MEMORY FOR OTHER MUSIC THAT 1711 00:58:44,120 --> 00:58:44,888 YOU'VE HEARD AND ASSOCIATIONS 1712 00:58:44,954 --> 00:58:46,456 YOU HAVE WITH OTHER EVENTS AND 1713 00:58:46,522 --> 00:58:47,523 SENSORY EXPERIENCES COME 1714 00:58:47,590 --> 00:58:51,227 TOGETHER IN THESE HUBS. 1715 00:58:51,294 --> 00:58:53,496 AS WE LISTEN TO MUSIC IN 1716 00:58:53,563 --> 00:58:57,734 PREFRONTAL CORTEX, PARTICULARLY 1717 00:58:57,800 --> 00:58:59,369 BROADBAND AREAS 47 AND 44, 1718 00:58:59,435 --> 00:59:02,138 THAT'S WHERE WE'RE FORMING 1719 00:59:02,205 --> 00:59:03,339 PREDICTIONS ABOUT WHAT COMES 1720 00:59:03,406 --> 00:59:03,907 NEXT. 1721 00:59:03,973 --> 00:59:05,074 EVEN IF YOU'RE NOT A MUSICIAN, 1722 00:59:05,141 --> 00:59:06,309 THOSE AREAS ARE AT WORK TRYING 1723 00:59:06,376 --> 00:59:07,510 TO FIGURE OUT WHAT'S GOING TO 1724 00:59:07,577 --> 00:59:08,378 COME NEXT. 1725 00:59:08,444 --> 00:59:10,013 AND AS THOSE PREDICTIONS ARE 1726 00:59:10,079 --> 00:59:11,314 EITHER CONFIRMED OR VIOLATED, 1727 00:59:11,381 --> 00:59:13,483 THEY FEED INTO REWARD NETWORKS 1728 00:59:13,549 --> 00:59:15,518 IN THE BRAIN. 1729 00:59:15,585 --> 00:59:18,054 HERE WE ALSO SEE THAT THERE ARE 1730 00:59:18,121 --> 00:59:20,356 CONTRIBUTIONS OF MOTOR CORTEX 1731 00:59:20,423 --> 00:59:22,492 FOREFOOT TAPPING, DANCING, 1732 00:59:22,558 --> 00:59:24,560 PLAYING AN INSTRUMENT. 1733 00:59:24,627 --> 00:59:25,762 THE CEREBELLUM IS ALSO INVOLVED 1734 00:59:25,828 --> 00:59:31,801 IN MOVEMENT. 1735 00:59:31,868 --> 00:59:35,571 WE'VE GOT SENSORY FEEDBACK FROM 1736 00:59:35,638 --> 00:59:37,774 PLAYING AN INSTRUMENT AND 1737 00:59:37,840 --> 00:59:39,876 DANCING. 1738 00:59:39,943 --> 00:59:40,944 VISUAL PERCEPTION IS INVOLVED 1739 00:59:41,010 --> 00:59:42,278 WHEN WE READ MUSIC, WHEN WE 1740 00:59:42,345 --> 00:59:43,746 WATCH A PERFORMANCE, WHEN WE 1741 00:59:43,813 --> 00:59:46,482 WATCH OTHERS AROUND US. 1742 00:59:46,549 --> 00:59:47,250 ENJOYING 1743 00:59:47,317 --> 00:59:48,851 A PERFORMANCE, OR SOMETIMES 1744 00:59:48,918 --> 00:59:50,253 WALKING OUT OF ONE. 1745 00:59:50,320 --> 00:59:51,020 [LAUGHTER] 1746 00:59:51,087 --> 00:59:52,989 THE CEREBELLUM IS INVOLVED IN 1747 00:59:53,056 --> 00:59:54,123 MEDIATING EMOTIONS THROUGH 1748 00:59:54,190 --> 00:59:56,526 CONNECTIONS WITH THE PREFRONTAL 1749 00:59:56,592 --> 00:59:58,394 CORTEX AND LIMBIC SYSTEM, AND IF 1750 00:59:58,461 --> 01:00:00,964 WE OPEN UP THE BRAIN AND WE PEER 1751 01:00:01,030 --> 01:00:02,532 INSIDE, WE SEE THAT MUSIC 1752 01:00:02,598 --> 01:00:03,733 ACTIVATES THE WELL-KNOWN 1753 01:00:03,800 --> 01:00:05,535 PLEASURE CENTERS OF THE BRAIN. 1754 01:00:05,601 --> 01:00:12,875 THE NUCLEUS ACCUMBENS, THE 1755 01:00:12,942 --> 01:00:14,544 AMYGDALA AND THE VENTRAL 1756 01:00:14,610 --> 01:00:16,079 TEGMENTAL AREA. 1757 01:00:16,145 --> 01:00:17,013 THESE REWARD CIRCUITS HAVE BEEN 1758 01:00:17,080 --> 01:00:19,382 KNOWN FOR DECADES SINCE THE WORK 1759 01:00:19,449 --> 01:00:22,952 OF MILNER AND OLDES, THEY USED 1760 01:00:23,019 --> 01:00:26,022 TO BE THOUGHT TO BE ACTIVATED 1761 01:00:26,089 --> 01:00:28,791 JUST BY SEX AND DRUGS BUT WE 1762 01:00:28,858 --> 01:00:30,760 ADDED ROCK AND ROLL TO THE 1763 01:00:30,827 --> 01:00:31,160 CHARACTERIZATION. 1764 01:00:31,227 --> 01:00:34,030 THIS IS AN OVERVIEW, AGAIN, OF 1765 01:00:34,097 --> 01:00:35,231 THE REWARD CIRCUITS, AND THIS IS 1766 01:00:35,298 --> 01:00:37,066 A SCAN SHOWING, FROM OUR LAB, 1767 01:00:37,133 --> 01:00:40,169 MUSIC MORE SO THAN SPEECH 1768 01:00:40,236 --> 01:00:41,371 ENGAGES EMOTIONAL CENTERS THAT 1769 01:00:41,437 --> 01:00:43,339 MEDIATE REWARD AND AROUSAL, THE 1770 01:00:43,406 --> 01:00:44,774 SAME NETWORKS ASSOCIATED WITH 1771 01:00:44,841 --> 01:00:46,509 EATING CHOCOLATE, TAKING OPIUM, 1772 01:00:46,576 --> 01:00:49,979 AND HAVING SEX. 1773 01:00:50,046 --> 01:00:52,048 LISTENING TO MUSIC ALSO 1774 01:00:52,115 --> 01:00:53,883 FACILITATES ENTRY INTO THE 1775 01:00:53,950 --> 01:00:56,386 DEFAULT MODE NETWORK. 1776 01:00:56,452 --> 01:00:58,054 MEDIAL PREFRONTAL CORTEX, 1777 01:00:58,121 --> 01:01:01,791 ANTERIOR AND POSTERIOR CORTEX, 1778 01:01:01,858 --> 01:01:02,692 ANGULAR GYRUS. 1779 01:01:02,759 --> 01:01:04,327 THE DEFAULT MODE NETWORK IS AN 1780 01:01:04,394 --> 01:01:07,263 ESSENTIAL PART OF OUR DAILY LI 1781 01:01:07,330 --> 01:01:08,097 LIFE. 1782 01:01:08,164 --> 01:01:09,198 IT'S THE PART OF US THAT GOES 1783 01:01:09,265 --> 01:01:10,166 INTO DAY DREAMING. 1784 01:01:10,233 --> 01:01:11,367 IT'S THE PART WHERE A LOT OF 1785 01:01:11,434 --> 01:01:13,569 PROBLEM SOLVING HAPPENS. 1786 01:01:13,636 --> 01:01:14,837 IT'S WHAT HAPPENS TO YOU 1787 01:01:14,904 --> 01:01:16,039 AUTOMATICALLY WHEN YOU'RE NOT 1788 01:01:16,105 --> 01:01:17,240 EXERTING CONTROL THROUGH WHAT WE 1789 01:01:17,306 --> 01:01:18,775 CALL THE CENTRAL EXECUTIVE 1790 01:01:18,841 --> 01:01:20,743 NETWORK, YOU SLIP INTO THAT. 1791 01:01:20,810 --> 01:01:23,980 AND WHAT WE FOUND IS THAT THIS 1792 01:01:24,047 --> 01:01:26,349 DEFAULT MODE NETWORK DISCOVERED 1793 01:01:26,416 --> 01:01:31,687 BY THE NODE MENON AND MARCUS 1794 01:01:31,754 --> 01:01:32,688 REICHEL IS THAT YOU NEED IT. 1795 01:01:32,755 --> 01:01:33,890 IF YOU FIND YOURSELF STRESSED 1796 01:01:33,956 --> 01:01:35,992 OUT OR CAN'T FOCUS, LISTENING TO 1797 01:01:36,059 --> 01:01:37,060 MUSIC IS ONE OF THE BEST WAYS TO 1798 01:01:37,126 --> 01:01:37,860 GET THERE. 1799 01:01:37,927 --> 01:01:38,661 LET'S LOOK AT THE EFFECTS OF 1800 01:01:38,728 --> 01:01:40,063 MUSIC ON BODY AND BRAIN 1801 01:01:40,129 --> 01:01:41,798 CHEMISTRY IN THIS WHISTLE STOP 1802 01:01:41,864 --> 01:01:45,501 TOUR. 1803 01:01:45,568 --> 01:01:46,369 IMMUNOGLOBULIN A LEVELS HAVE 1804 01:01:46,436 --> 01:01:48,204 BEEN SHOWN TO INCREASE FOLLOWING 1805 01:01:48,271 --> 01:01:50,273 MUSIC THERAPY, IGA IS AN 1806 01:01:50,339 --> 01:01:51,340 IMPORTANT ANTIBODY NEEDED FOR 1807 01:01:51,407 --> 01:01:53,443 FIGHTING INFECTIONS OF THE 1808 01:01:53,509 --> 01:01:56,245 MUCOSAL SYSTEM SUCH AS COVID. 1809 01:01:56,312 --> 01:01:59,248 EPINEPHRINE AND NOREPINEPHRINE 1810 01:01:59,315 --> 01:02:00,583 CAN ARISE FOLLOWING MUSIC 1811 01:02:00,650 --> 01:02:01,350 THERAPY. 1812 01:02:01,417 --> 01:02:02,985 THEY AFFECT ALERTNESS AND 1813 01:02:03,052 --> 01:02:03,920 AROUSAL. 1814 01:02:03,986 --> 01:02:05,488 MELATONIN, AS YOU KNOW, HELPS 1815 01:02:05,555 --> 01:02:09,559 REGULATE SLEEK/W SLEEP/WAKE CYC. 1816 01:02:09,625 --> 01:02:11,160 IT CAN INCREASE FOLLOWING 1817 01:02:11,227 --> 01:02:15,164 CERTAIN KINDS OF MUSIC THERAPY. 1818 01:02:15,231 --> 01:02:16,566 MELATONIN IS PUTATIVELY LINKED 1819 01:02:16,632 --> 01:02:18,601 TO INCREASES IN CYTOKINE 1820 01:02:18,668 --> 01:02:20,136 PRODUCTION WHICH IN TURN SIGNAL 1821 01:02:20,203 --> 01:02:21,871 T CELLS TO TRAVEL TO THE SITE OF 1822 01:02:21,938 --> 01:02:22,405 AN INFECTION. 1823 01:02:22,472 --> 01:02:23,806 WHAT ABOUT MUSIC AND MOOD? 1824 01:02:23,873 --> 01:02:28,811 WELL, SAIR SEROTONIN AND DOPAME 1825 01:02:28,878 --> 01:02:30,913 LEVELS INCREASE FOLLOWING PLESH 1826 01:02:30,980 --> 01:02:32,348 RABL MUSIC LISTENING. 1827 01:02:32,415 --> 01:02:34,450 SEROTONIN HELPS TO REGULATE 1828 01:02:34,517 --> 01:02:35,651 MOOD, DOPAMINE, PLEASURE AND 1829 01:02:35,718 --> 01:02:36,486 ATTENTION. 1830 01:02:36,552 --> 01:02:37,620 CORTISOL LEVELS CAN DROP 1831 01:02:37,687 --> 01:02:39,555 FOLLOWING MEDITATIVE MUSIC. 1832 01:02:39,622 --> 01:02:43,092 WHAT ABOUT MUSIC AND PAIN? 1833 01:02:43,159 --> 01:02:45,194 IN A META-ANALYSIS ON 1834 01:02:45,261 --> 01:02:46,362 PERIOPERATIVE PAIN, MUSIC WAS 1835 01:02:46,429 --> 01:02:48,631 FOUND TO REDUCE PAIN ON AVERAGE 1836 01:02:48,698 --> 01:02:54,437 BY 1.4 POINTS ON THIS SCALE. 1837 01:02:54,504 --> 01:02:55,838 MUSIC AND ANXIETY IN A 1838 01:02:55,905 --> 01:02:57,039 PREOPERATIVE SETTING, MUSIC WAS 1839 01:02:57,106 --> 01:02:59,976 FOUND TO BE AS EFFECTIVE AS 1840 01:03:00,042 --> 01:03:01,911 DIAZEPAM, VALIUM, IN REDUCING 1841 01:03:01,978 --> 01:03:02,712 STRESS AND ANXIETY. 1842 01:03:02,778 --> 01:03:04,514 IF YOU WANT TO BUY A VALIUM AT 1843 01:03:04,580 --> 01:03:06,349 THE DRUGSTORE, IT MIGHT BE $5. 1844 01:03:06,415 --> 01:03:07,783 IF YOU HAVE TO GET ONE IN THE 1845 01:03:07,850 --> 01:03:09,552 HOSPITAL, IT'S PROBABLY GOING TO 1846 01:03:09,619 --> 01:03:10,620 BE $750. 1847 01:03:10,686 --> 01:03:13,122 FOR THAT SAME PILL, WHEN YOU 1848 01:03:13,189 --> 01:03:16,125 COULD HAVE MUSIC FOR, WELL, 99 1849 01:03:16,192 --> 01:03:19,362 CENTS OR FREE. 1850 01:03:19,428 --> 01:03:23,566 I WANT TO TAKE A MOMENT IN 1851 01:03:23,633 --> 01:03:24,667 ADVANCE OF OUR SESSION AND THE 1852 01:03:24,734 --> 01:03:26,202 SESSIONS THAT FOLLOW JUST TO 1853 01:03:26,269 --> 01:03:27,737 SPECULATE ON HOW MUSIC THERAPY 1854 01:03:27,803 --> 01:03:32,842 MIGHT WORK. 1855 01:03:32,909 --> 01:03:34,577 MUSIC ALLOWS US TO TAP INTO 1856 01:03:34,644 --> 01:03:36,879 SOMETHING PRIMAL, UNIVERSAL, AND 1857 01:03:36,946 --> 01:03:37,713 PROFOUNDLY MYSTERIOUS. 1858 01:03:37,780 --> 01:03:40,149 AND THAT MYSTERY IS DELIVERED BY 1859 01:03:40,216 --> 01:03:42,618 MUSIC'S INHERENT AMBIGUITY. 1860 01:03:42,685 --> 01:03:44,253 AS SHELLY BERG SO BEAUTIFULLY 1861 01:03:44,320 --> 01:03:45,888 POINTED OUT. 1862 01:03:45,955 --> 01:03:48,824 MUSIC DOESN'T MEAN ANYTHING IN A 1863 01:03:48,891 --> 01:03:49,492 CONVENTIONAL SENSE. 1864 01:03:49,559 --> 01:03:52,195 IT'S NOT A REFLECTION OF OUR 1865 01:03:52,261 --> 01:03:55,598 EMOTIONS, BUT A WINDOW INTO TH 1866 01:03:55,665 --> 01:03:55,798 THEM. 1867 01:03:55,865 --> 01:03:56,933 AMBIGUITY IN MUSIC IS NOT AN 1868 01:03:56,999 --> 01:03:58,534 ERROR IN OUR COGNITIVE 1869 01:03:58,601 --> 01:04:02,004 APPARATUS, BUT A FEATURE THAT 1870 01:04:02,071 --> 01:04:04,807 PULSE US DEEPER INTO A STATE OF 1871 01:04:04,874 --> 01:04:05,341 INTERROW SPECS. 1872 01:04:05,408 --> 01:04:07,243 IT TOYS WITH OUR EVOLUTIONARY 1873 01:04:07,310 --> 01:04:08,778 PATTERN SEEKING INSTINCTS. 1874 01:04:08,844 --> 01:04:10,446 IT CHALLENGES US TO DISCERN 1875 01:04:10,513 --> 01:04:12,248 MEANING IN A MEDIUM THAT IS 1876 01:04:12,315 --> 01:04:15,184 ENTIRELY SUBJECTIVE. 1877 01:04:15,251 --> 01:04:16,852 ULTIMATELY, MUSIC CAN DO SO MANY 1878 01:04:16,919 --> 01:04:18,321 THINGS BECAUSE IT CAN MEAN SO 1879 01:04:18,387 --> 01:04:18,888 MANY THINGS. 1880 01:04:18,955 --> 01:04:22,525 IT IS INTENTIONALLY AMBIGUOUS. 1881 01:04:22,592 --> 01:04:24,694 IT DOES NOT EXPLICITLY REFER TO 1882 01:04:24,760 --> 01:04:25,528 ANY CONCRETE OBJECT IN THE 1883 01:04:25,595 --> 01:04:25,728 WORLD. 1884 01:04:25,795 --> 01:04:28,364 IT REFERS TO METAPHORICAL AND 1885 01:04:28,431 --> 01:04:30,132 EMOTIONAL ONES. 1886 01:04:30,199 --> 01:04:34,604 IT'S RICH WITH POSSIBILITIES FOR 1887 01:04:34,670 --> 01:04:34,971 INTERPRETATION. 1888 01:04:35,037 --> 01:04:36,372 WE CAN CHOOSE TO LIKE OR REJECT 1889 01:04:36,439 --> 01:04:37,773 A PIECE OF MUSIC, TO FALL IN 1890 01:04:37,840 --> 01:04:41,344 LOVE WITH IT, TO TIRE OF IT. 1891 01:04:41,410 --> 01:04:43,246 IT CAN TAKE DIFFERENT MEANINGS 1892 01:04:43,312 --> 01:04:44,614 AS OUR BRAIN CHANGES, AS WE 1893 01:04:44,680 --> 01:04:48,184 REACT TO THE INTRICACIES OF LIFE 1894 01:04:48,251 --> 01:04:50,152 AND LOVE, OF MEMORIES AND 1895 01:04:50,219 --> 01:04:51,053 RELATIONSHIPS, AND IT IS AMONG 1896 01:04:51,120 --> 01:04:56,259 THE MOST INTIMATE ART FORMS. 1897 01:04:56,325 --> 01:05:00,730 VISION, FOR SOME REASON, WHEN WE 1898 01:05:00,796 --> 01:05:01,731 SEE THINGS, IT FEELS LIKE 1899 01:05:01,797 --> 01:05:03,566 THEY'RE OUT THERE IN THE WORLD 1900 01:05:03,633 --> 01:05:07,503 THE WAY DUE TO OUR RETINA EVO 1901 01:05:07,570 --> 01:05:08,504 EVOLVED, BUT THE SOUND FEELS 1902 01:05:08,571 --> 01:05:09,705 LIKE IT'S COMING INSIDE OUR 1903 01:05:09,772 --> 01:05:10,339 HEADS. 1904 01:05:10,406 --> 01:05:12,508 IT FEELS LIKE IT'S INSIDE OF US. 1905 01:05:12,575 --> 01:05:13,809 I'VE NEVER HEARD OF SOMEONE WHO 1906 01:05:13,876 --> 01:05:15,044 GETS PICTURES STUCK IN THEIR 1907 01:05:15,111 --> 01:05:16,712 HEADS, ALTHOUGH I IMAGINE THEY 1908 01:05:16,779 --> 01:05:18,180 DO BUT ONCE MUSIC GETS IN THERE, 1909 01:05:18,247 --> 01:05:19,048 IT STAYINGS IN THERE. 1910 01:05:19,115 --> 01:05:21,350 JUST TO GIVE YOU A SENSE OF THIS 1911 01:05:21,417 --> 01:05:23,719 AMBIGUITY IN ANOTHER MODALITY, 1912 01:05:23,786 --> 01:05:29,625 THIS IS A PAINTING BY ART 1913 01:05:29,692 --> 01:05:30,259 SHIMBALDO. 1914 01:05:30,326 --> 01:05:31,694 CONSIDER WHAT IT MEANS TO, IN 1915 01:05:31,761 --> 01:05:33,863 THIS VIEW, AND NOW IF I ROTATE 1916 01:05:33,929 --> 01:05:34,830 IT, YOU SEE SOMETHING DIFFERENT, 1917 01:05:34,897 --> 01:05:37,466 AND IF I ROTATE IT AGAIN, AND 1918 01:05:37,533 --> 01:05:40,303 MUSIC AS SHELLY ILLUSTRATED IS 1919 01:05:40,369 --> 01:05:42,038 ALL ABOUT TRANSFORMATIONS AND 1920 01:05:42,104 --> 01:05:43,406 ROTATIONS. 1921 01:05:43,472 --> 01:05:44,507 THANK YOU VERY MUCH. 1922 01:05:44,573 --> 01:05:54,750 [APPLAUSE] 1923 01:06:05,227 --> 01:06:06,729 >> I'D FIRST LIKE TO START BY 1924 01:06:06,796 --> 01:06:08,097 THANKING THE ORGANIZERS FOR 1925 01:06:08,164 --> 01:06:08,764 ARRANGING THIS MEETING AND 1926 01:06:08,831 --> 01:06:09,932 GIVING ME THE OPPORTUNITY TO 1927 01:06:09,999 --> 01:06:11,067 TELL YOU A LITTLE BIT ABOUT THE 1928 01:06:11,133 --> 01:06:14,437 WORK THAT WE'VE BEEN DOING IN MY 1929 01:06:14,503 --> 01:06:17,273 LAB USING SOUND BIRDS AS AN 1930 01:06:17,340 --> 01:06:18,574 ANIMAL MODEL SYSTEM TO 1931 01:06:18,641 --> 01:06:19,875 UNDERSTAND AUDITORY MOTOR 1932 01:06:19,942 --> 01:06:20,643 INTERACTIONS DURING RHYTHM 1933 01:06:20,710 --> 01:06:20,976 PERCEPTION. 1934 01:06:21,043 --> 01:06:22,144 I JUST WANT TO MENTION AT THE 1935 01:06:22,211 --> 01:06:23,112 OUTSET THAT THE WORK THAT I'M 1936 01:06:23,179 --> 01:06:26,082 GOING TO BE PRESENTING TODAY IS 1937 01:06:26,148 --> 01:06:28,017 IN COLLABORATION WITH ANI PATEL, 1938 01:06:28,084 --> 01:06:29,352 WHO IS A COGNITIVE 1939 01:06:29,418 --> 01:06:30,219 NEUROSCIENTIST AT TUFTS WHO HAS 1940 01:06:30,286 --> 01:06:32,021 BEEN STUDYING THE NEUROSCIENCE 1941 01:06:32,088 --> 01:06:33,489 OF HUMAN MUSIC COGNITION FOR 1942 01:06:33,556 --> 01:06:34,557 MANY YEARS. 1943 01:06:34,623 --> 01:06:36,325 I'M NOT SURE -- I THINK THIS IS 1944 01:06:36,392 --> 01:06:38,361 ADVANCING BEFORE I AM ADVANCING 1945 01:06:38,427 --> 01:06:38,794 IT. 1946 01:06:38,861 --> 01:06:40,229 BUT I'LL JUST SAY THAT MUSIC 1947 01:06:40,296 --> 01:06:42,698 ACROSS THE WORLD IS 1948 01:06:42,765 --> 01:06:44,333 CHARACTERIZED BY PERIODIC 1949 01:06:44,400 --> 01:06:45,468 AUDITORY RHYTHMS. 1950 01:06:45,534 --> 01:06:47,503 AND RHYTHM PERCEPTION IS FUND 1951 01:06:47,570 --> 01:06:49,772 MENTAL TO MUSIC. 1952 01:06:49,839 --> 01:06:52,141 PEOPLE CAN READILY RECOGNIZE 1953 01:06:52,208 --> 01:06:52,942 PERIODIC AUDITORY RHYTHMS SUCH 1954 01:06:53,008 --> 01:06:55,378 AS THAT OF A FAVORITE SONG, 1955 01:06:55,444 --> 01:06:56,445 INDEPENDENT OF THE RATE AT WHICH 1956 01:06:56,512 --> 01:06:57,012 IT'S PLAYED. 1957 01:06:57,079 --> 01:06:58,848 SO IF IT'S PLAYED FASTER OR 1958 01:06:58,914 --> 01:07:00,783 SLOWER, YOU RECOGNIZE IT AS THE 1959 01:07:00,850 --> 01:07:03,919 SAME RHYTHM. 1960 01:07:03,986 --> 01:07:06,088 AND IT IS ACTUALLY ADVANCING 1961 01:07:06,155 --> 01:07:14,997 WITHOUT ME. 1962 01:07:15,064 --> 01:07:16,532 I'LL JUST KEEP GOING AS THIS 1963 01:07:16,599 --> 01:07:17,166 GETS FIXED. 1964 01:07:17,233 --> 01:07:19,402 THIS ABILITY TO DETECT RHYTHMIC 1965 01:07:19,468 --> 01:07:21,437 MA TERNS IS PRESENT EVEN IN 1966 01:07:21,504 --> 01:07:22,671 INFANTS AND IT DEPENDS ON THE 1967 01:07:22,738 --> 01:07:24,774 ABILITY TO DETECT THE RELATIVE 1968 01:07:24,840 --> 01:07:29,912 TIMING OF INTERVANS. INTERVALS. 1969 01:07:29,979 --> 01:07:35,684 AS DAN MENTIONED PEOPLE 1970 01:07:35,751 --> 01:07:36,352 SPONTANEOUSLY SYNCHRONIZE THEIR 1971 01:07:36,419 --> 01:07:38,454 MOVEMENTS TO MUSIC. 1972 01:07:38,521 --> 01:07:39,321 THIS SPONTANEOUS MOVEMENT TO THE 1973 01:07:39,388 --> 01:07:41,357 BEAT SUGGESTS THERE ARE STRONG 1974 01:07:41,424 --> 01:07:41,924 AUDITORY CONNECTIONS BETWEEN 1975 01:07:41,991 --> 01:07:42,758 AUDITORY AND MOTOR REGIONS IN 1976 01:07:42,825 --> 01:07:43,092 THE BRAIN. 1977 01:07:43,159 --> 01:07:44,860 I WANTED TO PLAY A SHORT VIDEO 1978 01:07:44,927 --> 01:07:46,128 FOR YOU OF A PATIENT WITH 1979 01:07:46,195 --> 01:07:47,096 PARKINSON'S DISEASE AND I'LL 1980 01:07:47,163 --> 01:07:48,964 JUST DESCRIBE IT INSTEAD OF 1981 01:07:49,031 --> 01:07:49,732 SHOWING TO YOU. 1982 01:07:49,799 --> 01:07:51,467 IT'S A HOME VIDEO THAT SHOWS THE 1983 01:07:51,534 --> 01:07:55,137 PATIENT WALKING AND HE HAS 1984 01:07:55,204 --> 01:07:56,572 PROBLEM WITH MOVEMENT 1985 01:07:56,639 --> 01:07:58,107 INITIATION, A SHUFFLING GAIT, 1986 01:07:58,174 --> 01:07:59,642 AND THEN PARTWAY THROUGH THE 1987 01:07:59,708 --> 01:08:01,877 VIDEO, SOMEONE PLAYS A SONG THAT 1988 01:08:01,944 --> 01:08:03,312 HAS A STRONG BEAT, AND 1989 01:08:03,379 --> 01:08:04,513 IMMEDIATELY YOU CAN SEE THAT HE 1990 01:08:04,580 --> 01:08:06,382 STARTS MOVING TO THE BEAT. 1991 01:08:06,449 --> 01:08:08,117 HE HAS REALLY FLUID MOVEMENTS, 1992 01:08:08,184 --> 01:08:09,218 THE VARIATION IN HIS MOVEMENTS 1993 01:08:09,285 --> 01:08:11,587 IS MUCH GREATER, AND IT'S JUST A 1994 01:08:11,654 --> 01:08:12,988 REALLY POWERFUL EXAMPLE OF HOW 1995 01:08:13,055 --> 01:08:14,190 MOVEMENT CAN GET YOU MOVING, 1996 01:08:14,256 --> 01:08:15,624 RIGHT, CAN GET YOU MOVING TO THE 1997 01:08:15,691 --> 01:08:16,025 BEAT. 1998 01:08:16,091 --> 01:08:19,228 AND THE QUESTION IS, HOW? 1999 01:08:19,295 --> 01:08:21,297 HOW DOES DETECTION OF THIS 2000 01:08:21,363 --> 01:08:23,032 RHYTHMIC AUDITORY PERCEPTION 2001 01:08:23,098 --> 01:08:24,333 THEN FACILITATE MOVEMENT? 2002 01:08:24,400 --> 01:08:26,469 WHAT ARE THE NEURAL MECHANISMS 2003 01:08:26,535 --> 01:08:28,204 AND CIRCUITS THAT ARE INVOLVED 2004 01:08:28,270 --> 01:08:29,572 IN RHYTHM DETECTION? 2005 01:08:29,638 --> 01:08:30,973 SO NOW I'M ON THE SLIDE THAT I 2006 01:08:31,040 --> 01:08:32,608 HOPE TO BE ON, AND I WANTED TO 2007 01:08:32,675 --> 01:08:34,443 REMIND YOU OF SOME OF THE KEY 2008 01:08:34,510 --> 01:08:37,346 COGNITIVE FEATURES OF RHYTHMIC 2009 01:08:37,413 --> 01:08:37,913 PATTERN PERCEPTION. 2010 01:08:37,980 --> 01:08:39,014 THE FIRST IS THAT IT'S 2011 01:08:39,081 --> 01:08:40,749 PREDICTIVE. 2012 01:08:40,816 --> 01:08:41,817 PEOPLE RECOGNIZE A PERIODIC 2013 01:08:41,884 --> 01:08:43,586 PULSE, AND THIS IS NOT JUST DUE 2014 01:08:43,652 --> 01:08:47,389 TO PASSIVE SENSATION. 2015 01:08:47,456 --> 01:08:48,858 INSTEAD, THE BRAIN IS ACTIVELY 2016 01:08:48,924 --> 01:08:50,059 PREDICTING THE TIMING OF 2017 01:08:50,125 --> 01:08:50,459 UPCOMING EVENTS. 2018 01:08:50,526 --> 01:08:52,194 AND YOU CAN TEST THIS SIMPLY IN 2019 01:08:52,261 --> 01:08:53,963 AN EXPERIMENT WHERE YOU ASK 2020 01:08:54,029 --> 01:08:57,733 PEOPLE TO TAP TO A MET TROA 2021 01:08:57,800 --> 01:08:58,200 NOME. 2022 01:08:58,267 --> 01:08:59,802 THE TIMING AT WHICH THEIR TIMING 2023 01:08:59,869 --> 01:09:02,404 IS QUITE PRECISE BUT IT USUALLY 2024 01:09:02,471 --> 01:09:04,473 PRESIDES THE SOUND, SO THEY'RE 2025 01:09:04,540 --> 01:09:05,808 ANTICIPATING THE TIMING OF THE 2026 01:09:05,875 --> 01:09:06,675 EVENT. 2027 01:09:06,742 --> 01:09:08,410 NOT ONLY THAT, THE RHYTHM 2028 01:09:08,477 --> 01:09:09,812 PERCEPTION IS ALSO 2029 01:09:09,879 --> 01:09:10,813 TEMPO-FLEXIBLE. 2030 01:09:10,880 --> 01:09:12,882 SO IT IS ROBUST ACROSS A RANGE 2031 01:09:12,948 --> 01:09:13,516 OF TEMPOS. 2032 01:09:13,582 --> 01:09:16,218 IF YOU NEED UP THE METRONOME OR 2033 01:09:16,285 --> 01:09:19,321 SLOW IT DOWN, PEOPLE CONTINUE TO 2034 01:09:19,388 --> 01:09:23,392 TAP IN SYNC WITH THE METRONOME, 2035 01:09:23,459 --> 01:09:25,261 STILL TAPPING IN A PREDICTIVE 2036 01:09:25,327 --> 01:09:25,895 MANNER. 2037 01:09:25,961 --> 01:09:30,399 IT JUST WENT WITHOUT ME. 2038 01:09:30,466 --> 01:09:33,636 SO BEAT PERCEPTION SEEMS TO BE A 2039 01:09:33,702 --> 01:09:35,004 FORM OF RELATIVE TIMING WHEN 2040 01:09:35,070 --> 01:09:37,873 YOU'RE DETECTING SEEMS TO BE A 2041 01:09:37,940 --> 01:09:40,042 FORM OF RELATIVE TIMING, THIS IS 2042 01:09:40,109 --> 01:09:42,144 VERY DIFFERENT FROM ABSOLUTE OR 2043 01:09:42,211 --> 01:09:43,412 SINGLE INTERVAL TIMING. 2044 01:09:43,479 --> 01:09:44,513 A CLASSIC EXAMPLE OF THAT IS 2045 01:09:44,580 --> 01:09:45,948 LEARNING THE TIMING OF THE 2046 01:09:46,015 --> 01:09:47,316 YELLOW LATES IN TRAFFIC SIGNALS 2047 01:09:47,383 --> 01:09:48,083 IN YOUR NEIGHBORHOOD. 2048 01:09:48,150 --> 01:09:49,752 YOU'RE LEARNING THE TIMING OF A 2049 01:09:49,818 --> 01:09:51,253 SINGLE DURATION, WHICH IS VERY 2050 01:09:51,320 --> 01:09:53,188 IMPORTANT AND YOU CAN DO THIS 2051 01:09:53,255 --> 01:09:53,756 WITH EXPERIENCE. 2052 01:09:53,822 --> 01:09:55,624 BUT THIS CONTRASTS SHARPLY WITH 2053 01:09:55,691 --> 01:10:00,162 RELATIVE TIMING WE CAN USE THE 2054 01:10:00,229 --> 01:10:01,697 EXAMPLE OF HAVING TWO DIFFERENT 2055 01:10:01,764 --> 01:10:02,898 METRO NOMES, A FAST ONE AND A 2056 01:10:02,965 --> 01:10:03,365 SLOW ONE. 2057 01:10:03,432 --> 01:10:04,633 FROM THE POINT OF VIEW OF 2058 01:10:04,700 --> 01:10:06,702 ABSOLUTE TIMING, THESE TWO 2059 01:10:06,769 --> 01:10:07,570 PATTERNS ARE COMPLETELY 2060 01:10:07,636 --> 01:10:07,870 DIFFERENT. 2061 01:10:07,937 --> 01:10:11,640 THEY DON'T SHARE ANY INTERVAL IN 2062 01:10:11,707 --> 01:10:12,074 COMMON. 2063 01:10:12,141 --> 01:10:13,275 BUT FROM THE POINT OF VIEW OF 2064 01:10:13,342 --> 01:10:15,477 RELATIVE TIMING, THEY'RE THE 2065 01:10:15,544 --> 01:10:17,580 SAME. 2066 01:10:17,646 --> 01:10:19,081 THE SAME INTERVAL IS REPEATED 2067 01:10:19,148 --> 01:10:20,082 OVER AND OVER AGAIN IN BOTH 2068 01:10:20,149 --> 01:10:20,616 CONDITIONS. 2069 01:10:20,683 --> 01:10:22,484 AND THERE'S A LOT OF RESEARCH 2070 01:10:22,551 --> 01:10:23,552 SHOWING THAT THE NEURAL 2071 01:10:23,619 --> 01:10:24,720 SUBSTRATES THAT UNDERLIE 2072 01:10:24,787 --> 01:10:26,355 RELATIVE TIMING AND ABSOLUTE 2073 01:10:26,422 --> 01:10:28,824 TIMING CAN HAVE PARTLY DISTINCT 2074 01:10:28,891 --> 01:10:31,594 NEURAL MECHANISMS. 2075 01:10:31,660 --> 01:10:35,097 NEXT SLIDE, ALL RIGHT! 2076 01:10:35,164 --> 01:10:35,998 SO, OVER THE LAST 20 YEARS, 2077 01:10:36,065 --> 01:10:38,367 THERE'S BEEN A LOT OF RESEARCH 2078 01:10:38,434 --> 01:10:40,436 SHOWING THAT PERCEPTION OF 2079 01:10:40,502 --> 01:10:45,574 PERIODIC MOVEMENTS, AUDITORY 2080 01:10:45,641 --> 01:10:47,109 RHYTHMS, STRONGLY ENGAGES BOTH 2081 01:10:47,176 --> 01:10:48,077 THE AUDITORY SYSTEM AND THE 2082 01:10:48,143 --> 01:10:49,144 MOTOR SYSTEM. 2083 01:10:49,211 --> 01:10:50,479 SO NEUROIMAGING STUDIES IN 2084 01:10:50,546 --> 01:10:51,347 HUMANS HAVE SHOWN THAT WHEN 2085 01:10:51,413 --> 01:10:53,415 PEOPLE ARE LISTENING TO AUDITORY 2086 01:10:53,482 --> 01:10:55,351 STIMULI THAT HAVE A STRONG BEAT, 2087 01:10:55,417 --> 01:10:57,086 A STRONG PERIODIC PULSE, THAT 2088 01:10:57,152 --> 01:10:58,754 THAT ACTIVATES MOTOR PLANNING 2089 01:10:58,821 --> 01:11:01,490 REGIONS SUCH AS THE PREMOTOR 2090 01:11:01,557 --> 01:11:02,992 CORTEX AND SUPPLEMENTARY AREA, 2091 01:11:03,058 --> 01:11:04,760 ALSO THE BASAL GANGLIA, MORE 2092 01:11:04,827 --> 01:11:06,095 THAN IF THEY'RE LISTENING TO 2093 01:11:06,161 --> 01:11:07,496 MUSIC WITHOUT A STRONG BEAT. 2094 01:11:07,563 --> 01:11:09,665 AND THIS IS TRUE EVEN IF PEOPLE 2095 01:11:09,732 --> 01:11:10,099 AREN'T MOVING. 2096 01:11:10,165 --> 01:11:13,502 AND IF THEY'RE JUST LISTENING. 2097 01:11:13,569 --> 01:11:14,470 SO WHAT'S GOING ON? 2098 01:11:14,536 --> 01:11:19,041 WHY IS THE MOTOR SYSTEM ACTIVE 2099 01:11:19,108 --> 01:11:20,275 DURING BEAT PERCEPTION EVEN 2100 01:11:20,342 --> 01:11:21,644 WITHOUT MOVEMENT? 2101 01:11:21,710 --> 01:11:24,513 SO ANNI PATEL AND JOHN IEFER SON 2102 01:11:24,580 --> 01:11:25,681 IN 2014 SUGGESTED THAT THE MOTOR 2103 01:11:25,748 --> 01:11:27,716 SYSTEM MIGHT BE PLAYING A CAUSAL 2104 01:11:27,783 --> 01:11:29,184 ROLE IN RHYTHM PERCEPTION AND IT 2105 01:11:29,251 --> 01:11:30,486 IS INVOLVED IN PREDICTING THE 2106 01:11:30,552 --> 01:11:31,620 TIMING OF UPCOMING BEATS. 2107 01:11:31,687 --> 01:11:33,989 SO THE IDEA IS THAT THE MOTOR 2108 01:11:34,056 --> 01:11:35,090 SIGNAL SYSTEM IS GETTING SIGNALS 2109 01:11:35,157 --> 01:11:37,026 FROM THE AUDITORY SYSTEM, USING 2110 01:11:37,092 --> 01:11:39,461 THOSE TO PREDICT THE TIMING OF 2111 01:11:39,528 --> 01:11:40,663 UPCOMING EVENTS AND SENDING 2112 01:11:40,729 --> 01:11:42,398 THOSE SIGNALS BACK TO THE 2113 01:11:42,464 --> 01:11:43,032 AUDITORY SYSTEM. 2114 01:11:43,098 --> 01:11:45,100 SO THERE'S THIS TIGHT TWO-WAY 2115 01:11:45,167 --> 01:11:46,301 CONNECTION BETWEEN AUDITORY AND 2116 01:11:46,368 --> 01:11:48,170 MOTOR AREAS. 2117 01:11:48,237 --> 01:11:49,271 AND WHILE THERE'S A LOT THAT'S 2118 01:11:49,338 --> 01:11:51,674 BEEN LEARNED IN STUDY WITH 2119 01:11:51,740 --> 01:11:53,275 HUMANS ABOUT THE NEURAL BASIS OF 2120 01:11:53,342 --> 01:11:55,277 RHYTHM PERCEPTION, IT MIGHT BE 2121 01:11:55,344 --> 01:11:57,446 REALLY USEFUL TO HAVE AN ANIMAL 2122 01:11:57,513 --> 01:11:59,848 MODEL SYSTEM BECAUSE IT WOULD 2123 01:11:59,915 --> 01:12:01,150 ALLOW MORTEM PORL RESOLUTION, 2124 01:12:01,216 --> 01:12:03,218 SPATIAL RESOLUTION, AND THE 2125 01:12:03,285 --> 01:12:04,787 ABILITY TO MODIFY THESE CIRCUITS 2126 01:12:04,853 --> 01:12:07,156 TO UNDERSTAND THE UNDERLYING 2127 01:12:07,222 --> 01:12:09,058 MECHANISMS. 2128 01:12:09,124 --> 01:12:11,360 SO IN MY LAB, ANI AND I HAVE 2129 01:12:11,427 --> 01:12:12,995 BEEN TRYING TO FIGURE OUT 2130 01:12:13,062 --> 01:12:14,196 WHETHER VOCAL LEARNING SONG 2131 01:12:14,263 --> 01:12:15,631 BIRDS WOULD BE A PROMISING MODEL 2132 01:12:15,698 --> 01:12:19,935 FOR STUDYING RHYTHM PERCEPTION. 2133 01:12:20,002 --> 01:12:22,438 LIKE HUMANS, SONG BIRDS LEARN 2134 01:12:22,504 --> 01:12:26,308 THEIR VOCALIZATIONS AND THEY USE 2135 01:12:26,375 --> 01:12:27,476 RHYTHMICALLY TIMED VOCAL 2136 01:12:27,543 --> 01:12:28,711 SEQUENCES FOR COMMUNICATION. 2137 01:12:28,777 --> 01:12:30,446 LIKE HUMANS, SONG BIRDS HAVE 2138 01:12:30,512 --> 01:12:31,313 SPECIALIZED AREAS IN THEIR 2139 01:12:31,380 --> 01:12:32,281 BRAINS FOR LEARNING AND 2140 01:12:32,347 --> 01:12:33,382 PRODUCING THE SOUNDS. 2141 01:12:33,449 --> 01:12:35,117 SO HERE, I'M SHOWING YOU A 2142 01:12:35,184 --> 01:12:36,785 SCHEMATIC OF THE SONG BIRD BRAIN 2143 01:12:36,852 --> 01:12:38,220 ON THE RIGHT, IT'S IN THE 2144 01:12:38,287 --> 01:12:40,055 SAGITTAL SECTION, BEAK IN THE 2145 01:12:40,122 --> 01:12:41,457 FRONT, CEREBELLUM IN THE BACK, 2146 01:12:41,523 --> 01:12:43,058 AND THE AREAS THAT I'M SHOWING 2147 01:12:43,125 --> 01:12:45,394 YOU ARE PART OF THIS DISCRETE -- 2148 01:12:45,461 --> 01:12:47,029 IT'S A DISCRETE SET OF REGIONS 2149 01:12:47,096 --> 01:12:49,965 THAT IS REQUIRED FOR VOCAL 2150 01:12:50,032 --> 01:12:50,666 LEARNING. 2151 01:12:50,733 --> 01:12:51,867 THE REGIONS IN BLACK ARE THE 2152 01:12:51,934 --> 01:12:53,502 MOTOR AREAS, AND THEY, FOR 2153 01:12:53,569 --> 01:12:56,071 EXAMPLE, THAT PREMOTOR NUCLEUS 2154 01:12:56,138 --> 01:12:58,073 HVC RECEIVES INPUT FOR AUDITORY 2155 01:12:58,140 --> 01:13:00,008 REGIONS AND IT SENDS A 2156 01:13:00,075 --> 01:13:01,877 RECIPROCAL CONNECTION BACK TO 2157 01:13:01,944 --> 01:13:03,645 AUDITORY REGIONS. 2158 01:13:03,712 --> 01:13:04,747 THERE'S ALSO A CIRCUIT SHOWN IN 2159 01:13:04,813 --> 01:13:08,117 RED WHICH IS A BASAL GANGLIA 2160 01:13:08,183 --> 01:13:08,851 THALAMOCORTICAL CIRCUIT THAT'S 2161 01:13:08,917 --> 01:13:10,185 ALSO CRITICAL FOR VOCAL 2162 01:13:10,252 --> 01:13:10,853 LEARNING. 2163 01:13:10,919 --> 01:13:12,788 SO THESE REGIONS, PREMOTOR 2164 01:13:12,855 --> 01:13:14,223 REGIONS, BASAL GANGLIA REGIONS 2165 01:13:14,289 --> 01:13:15,958 THAT ARE NECESSARY FOR VOCAL 2166 01:13:16,024 --> 01:13:17,159 LEARNING AND PRODUCTION IF 2167 01:13:17,226 --> 01:13:18,060 SONGBIRDS ARE THE SAME REGIONS 2168 01:13:18,127 --> 01:13:20,496 THAT ARE ACTIVE WHEN HUMANS ARE 2169 01:13:20,562 --> 01:13:23,499 LISTENING TO RHYTHMIC AUDITORY 2170 01:13:23,565 --> 01:13:25,601 PATTERNS. 2171 01:13:25,667 --> 01:13:27,636 SO IN THE NEXT FEW MINUTES, I'LL 2172 01:13:27,703 --> 01:13:30,906 I'M GOING TO TELL YOU ABOUT OUR 2173 01:13:30,973 --> 01:13:32,407 EFFORTS TO TRY AND SEE WHETHER 2174 01:13:32,474 --> 01:13:34,743 OR NOT VOCAL LEARNING SONGBIRDS 2175 01:13:34,810 --> 01:13:36,912 CAN RECOGNIZE A RHYTHMIC PATTERN 2176 01:13:36,979 --> 01:13:39,214 IN A TEMPO FLEXIBLE MANNER AND 2177 01:13:39,281 --> 01:13:40,849 IF SO, WHAT'S THE ROLE OF THE 2178 01:13:40,916 --> 01:13:41,517 MOTOR SYSTEM? 2179 01:13:41,583 --> 01:13:43,519 SO OUR TASK THEN WAS TO TRAIN 2180 01:13:43,585 --> 01:13:45,854 ZEBRA FINCHES THE MOST WIDELY 2181 01:13:45,921 --> 01:13:47,723 STUDIED ANIMAL MODEL SYSTEM FOR 2182 01:13:47,790 --> 01:13:50,325 VOCAL LEARNING AND ASK THEM CAN 2183 01:13:50,392 --> 01:13:51,860 THEY RECOGNIZE A FUNDAMENTAL 2184 01:13:51,927 --> 01:13:53,829 RHYTHMIC PATTERN, CAN THEY 2185 01:13:53,896 --> 01:13:55,364 RECOGNIZE THIS IN A 2186 01:13:55,430 --> 01:13:55,898 TEMPO-FLEXIBLE MANNER. 2187 01:13:55,964 --> 01:13:59,334 SO WE USE THIS SYSTEM WHERE WE 2188 01:13:59,401 --> 01:14:00,836 MADE SEQUENCES OF ZEBRA FINCH 2189 01:14:00,903 --> 01:14:02,337 SORNG ELEMENTS WHICH ARE SHOWN 2190 01:14:02,404 --> 01:14:02,871 ON THE TOP. 2191 01:14:02,938 --> 01:14:06,008 SO THOSE ARE SPECTROGRAMS OF 2192 01:14:06,074 --> 01:14:08,110 FIVE DIFFERENT SONG ELEMENTS OF 2193 01:14:08,177 --> 01:14:10,078 MALE ZEBRAFISH AND WE 2194 01:14:10,145 --> 01:14:11,513 CONSTRUCTED SEQUENCES AT TWO 2195 01:14:11,580 --> 01:14:15,417 DIFFERENT TEMPI, ONE AN INTERVAL 2196 01:14:15,484 --> 01:14:17,052 OF 120 OR 180 MILLISECONDS AND 2197 01:14:17,119 --> 01:14:18,921 WE JUST REPEATED ONE SONG 2198 01:14:18,987 --> 01:14:22,424 ELEMENT OVER AND OVER AGAIN TO 2199 01:14:22,491 --> 01:14:30,299 PRODUCE AN ISOCHRONOUS AND 2200 01:14:30,365 --> 01:14:31,500 RHYTHMIC PATTERN. 2201 01:14:31,567 --> 01:14:32,467 THEY WERE SUPPOSED TO PECK 2202 01:14:32,534 --> 01:14:33,769 ANOTHER KEY AND THEY WOULD GET A 2203 01:14:33,836 --> 01:14:34,236 WATER REWARD. 2204 01:14:34,303 --> 01:14:36,171 IF THEY HEARD IN A RHYTHMIC 2205 01:14:36,238 --> 01:14:37,372 STIMULUS, THEY WERE SUPPOSED TO 2206 01:14:37,439 --> 01:14:38,140 WITHHOLD THEIR RESPONSE. 2207 01:14:38,207 --> 01:14:41,109 SO IT'S A SIMPLE TASK. 2208 01:14:41,176 --> 01:14:44,379 PECK FOR ISOCHRONOUS RHYTHMS, 2209 01:14:44,446 --> 01:14:46,114 DON'T RESPOND TO ARRHYTHMIC STIM 2210 01:14:46,181 --> 01:14:46,315 LINE. 2211 01:14:46,381 --> 01:14:48,317 TO DO THIS TRAINING, IT WAS A 2212 01:14:48,383 --> 01:14:49,618 LITTLE BIT COMPLICATED. 2213 01:14:49,685 --> 01:14:51,820 WE USED A SEQUENTIAL TRAINING 2214 01:14:51,887 --> 01:14:54,323 PARADIGM WHERE WE TRAIN BIRDS ON 2215 01:14:54,389 --> 01:14:56,825 SOUNDS CONSTRUCTED OF ONE SONG 2216 01:14:56,892 --> 01:14:58,894 ELEMENT, FOR EXAMPLE, SOUND A AT 2217 01:14:58,961 --> 01:15:01,496 THESE TWO DIFFERENT RATES. 2218 01:15:01,563 --> 01:15:02,731 ONCE THEY COULD TELL THE STIMULI 2219 01:15:02,798 --> 01:15:04,166 APART, WE GAVE THEM A WHOLE NEW 2220 01:15:04,233 --> 01:15:06,068 SET OF STIMULI, NOW CREATED WITH 2221 01:15:06,134 --> 01:15:10,472 SOUND B, SAME TEMPO, SAME SETUP, 2222 01:15:10,539 --> 01:15:12,875 TWO EYE SOCK NUSS STIMULI, TWO 2223 01:15:12,941 --> 01:15:14,009 ARRHYTHMIC STIMULI, DIFFERENT 2224 01:15:14,076 --> 01:15:15,210 ONCE FROM BEFORE. 2225 01:15:15,277 --> 01:15:16,278 WE TRAINED THEM ON THREE 2226 01:15:16,345 --> 01:15:16,912 DIFFERENT SOUNDS. 2227 01:15:16,979 --> 01:15:18,680 BUT THE TEST THEN IS TO ASK WHAT 2228 01:15:18,747 --> 01:15:23,252 HAPPENS IF WE PLAY ISOCHRONUS 2229 01:15:23,318 --> 01:15:24,753 AND ARRHYTHMIC STIM LINE AT A 2230 01:15:24,820 --> 01:15:27,623 NEW TEMPO, ONE THEY HADN'T HEARD 2231 01:15:27,689 --> 01:15:28,323 BEFORE, BECAUSE THIS IS THE TEST 2232 01:15:28,390 --> 01:15:29,424 OF RELATIVE TIMING. 2233 01:15:29,491 --> 01:15:31,026 DO THEY STILL CATEGORIZE THESE 2234 01:15:31,093 --> 01:15:35,030 STIMULI AS ISOCHRONOUS VERSUS 2235 01:15:35,097 --> 01:15:36,498 ARRHYTHMIC. 2236 01:15:36,565 --> 01:15:40,469 THE SYSTEM WAS SET UP TO TRY TO 2237 01:15:40,535 --> 01:15:41,536 INCENTIVIZE BIRDS TO PAY 2238 01:15:41,603 --> 01:15:42,938 ATTENTION TO TEMPORAL PATTERN 2239 01:15:43,005 --> 01:15:46,341 AND NOT ACCUSTOMED FEATURES OR 2240 01:15:46,408 --> 01:15:46,675 AMPLITUDE. 2241 01:15:46,742 --> 01:15:48,543 SO HERE IS AN EXAMPLE OF A 2242 01:15:48,610 --> 01:15:50,479 LEARNING CURVE FROM ONE MALE 2243 01:15:50,545 --> 01:15:51,146 ZEBRA FINCH. 2244 01:15:51,213 --> 01:15:53,282 YOU CAN SEE IT TOOK HIM SEVERAL 2245 01:15:53,348 --> 01:15:55,317 THOUSAND TRIALS TO LEARN TO 2246 01:15:55,384 --> 01:15:57,286 DISCRIMINATE CONSISTENTLY THE 2247 01:15:57,352 --> 01:15:57,819 STIMULI. 2248 01:15:57,886 --> 01:16:00,656 WE GAVE THEM A SECOND -- IT 2249 01:16:00,722 --> 01:16:02,758 SEEMED LIKE THEY HAD TO LEARN IT 2250 01:16:02,824 --> 01:16:03,725 ALL OVER AGAIN. 2251 01:16:03,792 --> 01:16:06,795 BY THE THIRD PHASE, THERE'S SOME 2252 01:16:06,862 --> 01:16:09,197 SAVINGS. WE DID THIS WITH 10 2253 01:16:09,264 --> 01:16:09,665 MALE BIRDS. 2254 01:16:09,731 --> 01:16:10,933 SEVEN WERE ABLE TO COMPLETE OUR 2255 01:16:10,999 --> 01:16:11,800 TRAINING STIMULUS. 2256 01:16:11,867 --> 01:16:13,335 SO WHAT HAPPENED WITH THE PROBE 2257 01:16:13,402 --> 01:16:13,702 STIMULUS? 2258 01:16:13,769 --> 01:16:15,737 WHAT HAPPENS IF WE PLAY NEW 2259 01:16:15,804 --> 01:16:18,707 SOUNDS AT A DIFFERENT TEMPO? 2260 01:16:18,774 --> 01:16:19,808 THE DATA ARE SHOWN HERE. 2261 01:16:19,875 --> 01:16:21,109 IT'S A LITTLE COMPLICATED BUT 2262 01:16:21,176 --> 01:16:22,978 HERE I'M SHOWING YOU THE 2263 01:16:23,045 --> 01:16:26,014 PROPORTION OF CORRECT RESPONSES, 2264 01:16:26,081 --> 01:16:27,582 AND EACH CIRCLE IS DATA FROM A 2265 01:16:27,649 --> 01:16:28,116 SINGLE BIRD. 2266 01:16:28,183 --> 01:16:31,320 AND THE DATA THAT WERE FOR THE 2267 01:16:31,386 --> 01:16:33,088 PROBE TRIALS WHEN HE'S LISTENING 2268 01:16:33,155 --> 01:16:36,024 TO A NOVEL TEMPO ARE SHOWN BY 2269 01:16:36,091 --> 01:16:37,459 THE LIGHT GREY BARS AND THE 2270 01:16:37,526 --> 01:16:39,428 TRAINING STIMULI ARE IN THE DARK 2271 01:16:39,494 --> 01:16:39,861 GREY BARS. 2272 01:16:39,928 --> 01:16:41,496 THE DASHED LINE SHOWS 2273 01:16:41,563 --> 01:16:41,997 PERFORMANCE AT CHANCE. 2274 01:16:42,064 --> 01:16:46,435 SO I HOPE YOU CAN SEE THAT THESE 2275 01:16:46,501 --> 01:16:49,137 BIRDS WERE READILY ABLE TO 2276 01:16:49,204 --> 01:16:50,505 DISCRIMINATE BETWEEN AN 2277 01:16:50,572 --> 01:16:51,807 ISOCHRONOUS AND ARRHYTHMIC 2278 01:16:51,873 --> 01:16:53,008 STIMULUS, EVEN WHEN THEY'RE 2279 01:16:53,075 --> 01:16:55,310 PRESENTED WITH STIMULUS AT A 2280 01:16:55,377 --> 01:16:56,078 NOVEL TEMPO. 2281 01:16:56,144 --> 01:16:57,512 IT DIDN'T MATTER IF WE TRAINED 2282 01:16:57,579 --> 01:16:58,947 THE BIRDS FIRST WITH A, B AND C 2283 01:16:59,014 --> 01:17:00,449 OR IF WE CHANGED THE ORDER IN 2284 01:17:00,515 --> 01:17:02,217 WHICH WE TRAINED THEM. 2285 01:17:02,284 --> 01:17:03,752 IN ALL BUT ONE OF THE CASES, THE 2286 01:17:03,819 --> 01:17:06,288 BIRDS WERE ABLE TO DO THIS 2287 01:17:06,355 --> 01:17:06,655 DISCRIMINATION. 2288 01:17:06,722 --> 01:17:06,922 ALL RIGHT. 2289 01:17:06,989 --> 01:17:07,823 SO NOW WHAT YOU REALLY WANT TO 2290 01:17:07,889 --> 01:17:09,791 KNOW IS WHAT HAPPENS IF WE TEST 2291 01:17:09,858 --> 01:17:14,329 THEM WITH A BROAD RANGE OF 2292 01:17:14,396 --> 01:17:14,763 TEMPI? 2293 01:17:14,830 --> 01:17:15,831 WE'RE GOING TO CREATE A BANK OF 2294 01:17:15,897 --> 01:17:18,100 STIM LINE WITH A NEW SOUND THEY 2295 01:17:18,166 --> 01:17:19,668 HADN'T HEARD BEFORE AND WE 2296 01:17:19,735 --> 01:17:22,604 GENERATED THIS OVER A RANGE FROM 2297 01:17:22,671 --> 01:17:25,540 75 MILLISECONDS TO 2298 01:17:25,607 --> 01:17:28,176 275 MILLISECONDS INTERONSET 2299 01:17:28,243 --> 01:17:28,443 INTERVAL. 2300 01:17:28,510 --> 01:17:33,115 SO THERE ARE 402 DIFFERENT STIM 2301 01:17:33,181 --> 01:17:36,618 LINE, 201 TEMPI, AND HERE'S THE 2302 01:17:36,685 --> 01:17:39,788 DATA FOR THE MALE BIRDS. 2303 01:17:39,855 --> 01:17:41,323 I LIKE TO THINK OF THIS AS A 2304 01:17:41,390 --> 01:17:45,027 TUNING CURVE FOR RHYTHM 2305 01:17:45,093 --> 01:17:45,594 PERCEPTION. 2306 01:17:45,660 --> 01:17:47,863 THE BIRDS WERE ABLE TO 2307 01:17:47,929 --> 01:17:50,265 SUCCESSFULLY DISCRIMINATION THE 2308 01:17:50,332 --> 01:17:51,833 ISOCHRONOUS STIMULUS ACROSS A 2309 01:17:51,900 --> 01:17:53,935 REALLY BROAD RANGE OF STIMULI, 2310 01:17:54,002 --> 01:17:56,638 FAR BEYOND THE TYPICAL RATE OF 2311 01:17:56,705 --> 01:17:58,173 ZEBRA FINCH SONG AND BEYOND THE 2312 01:17:58,240 --> 01:17:59,875 TRAINING STIMULI THAT WE USED. 2313 01:17:59,941 --> 01:18:01,777 NOW, WE WEREN'T SURPRISED THAT 2314 01:18:01,843 --> 01:18:03,178 THEIR PERFORMANCE FELL TO CHANCE 2315 01:18:03,245 --> 01:18:04,813 WHEN THE TEMPO WAS REALLY FAST, 2316 01:18:04,880 --> 01:18:10,419 AND THAT'S BECAUSE OUR STIMU 2317 01:18:10,485 --> 01:18:11,620 STIMULI -- THE INTERVALS WERE 2318 01:18:11,686 --> 01:18:12,387 VERY SHORT. 2319 01:18:12,454 --> 01:18:13,989 BUT WHAT WAS INTERESTING WAS 2320 01:18:14,056 --> 01:18:15,891 LIKE HUMANS, WHEN THE TEMPO WAS 2321 01:18:15,957 --> 01:18:17,759 REALLY SLOW, THEY STILL DIDN'T 2322 01:18:17,826 --> 01:18:18,393 GET IT. 2323 01:18:18,460 --> 01:18:19,694 THAT'S TRUE FOR HUMANS WHEN THE 2324 01:18:19,761 --> 01:18:20,996 INTERVALS ARE GREATER THAN 2325 01:18:21,063 --> 01:18:22,097 2 SECONDS OR 3 SECONDS. 2326 01:18:22,164 --> 01:18:23,098 OKAY. 2327 01:18:23,165 --> 01:18:24,332 SO I'VE SHOWN YOU THAT MALE 2328 01:18:24,399 --> 01:18:27,469 ZEBRA FINCHES CAN RECOGNIZE THIS 2329 01:18:27,536 --> 01:18:29,571 RHYTHMIC PATTERN IN A TEMPO 2330 01:18:29,638 --> 01:18:32,174 FLEXIBLE MANNER AND THE NEXT 2331 01:18:32,240 --> 01:18:33,508 QUESTION IS, IS THE MOTOR SYSTEM 2332 01:18:33,575 --> 01:18:34,376 PLAYING A ROLE IN THIS? 2333 01:18:34,443 --> 01:18:35,677 I ONLY HAVE ONE MINUTE LEFT, SO 2334 01:18:35,744 --> 01:18:37,112 I'M GOING TO TELL YOU WE TOOK 2335 01:18:37,179 --> 01:18:38,513 ADVANTAGE OF SEX DIFFERENCES IN 2336 01:18:38,580 --> 01:18:39,948 ZEBRA FINCHES. 2337 01:18:40,015 --> 01:18:41,516 MALES LEARNED TO SING, FEMALES 2338 01:18:41,583 --> 01:18:41,950 DON'T. 2339 01:18:42,017 --> 01:18:44,086 THE SONG SYSTEM, THOSE MOTOR 2340 01:18:44,152 --> 01:18:45,320 PLANNING REGIONS IN THE BASAL 2341 01:18:45,387 --> 01:18:46,721 GANGLIA, ARE MUCH LARGER IN 2342 01:18:46,788 --> 01:18:48,256 MALES COMPARED TO FEMALES. 2343 01:18:48,323 --> 01:18:50,325 BUT THE FUNCTIONAL CONNECTIVITY 2344 01:18:50,392 --> 01:18:52,194 IS STILL THE SAME POTENTIALLY, 2345 01:18:52,260 --> 01:18:54,696 BECAUSE ALL OF THE CONNECTIONS 2346 01:18:54,763 --> 01:18:56,898 ARE THERE, AND SO THE QUESTION 2347 01:18:56,965 --> 01:18:58,533 WAS, CAN FEMALES DO THIS TASK? 2348 01:18:58,600 --> 01:19:00,068 AND CAN THEY DO IT AS WELL AS 2349 01:19:00,135 --> 01:19:01,603 THE MALES? SO HERE'S THE DATA. 2350 01:19:01,670 --> 01:19:03,338 THE MALE DATA IS REPLOTTED FOR 2351 01:19:03,405 --> 01:19:04,539 YOU IN WHITE. 2352 01:19:04,606 --> 01:19:05,774 THE GREY BARS SHOW THE DATA FOR 2353 01:19:05,841 --> 01:19:06,608 THE FEMALE. 2354 01:19:06,675 --> 01:19:08,143 THEY CAN DO IT, JUST LIKE THE 2355 01:19:08,210 --> 01:19:08,710 MALES. 2356 01:19:08,777 --> 01:19:10,245 OVER A BROAD RANGE OF 2357 01:19:10,312 --> 01:19:12,414 FREQUENCIES, THEY ARE ABLE TO 2358 01:19:12,481 --> 01:19:17,052 DETECT AND RECOGNIZE ISOCHRONY. 2359 01:19:17,119 --> 01:19:18,420 THEY'RE NOT AS GOOD AS THE MALES 2360 01:19:18,487 --> 01:19:19,521 ON AVERAGE BUT THIS IS 2361 01:19:19,588 --> 01:19:21,423 CONSISTENT WITH REDUCED AUDITORY 2362 01:19:21,490 --> 01:19:26,294 MOTOR CIRCLE TR CIRCUITRY IN FE. 2363 01:19:26,361 --> 01:19:28,964 SO I HOPE I'VE CONVINCED YOU 2364 01:19:29,030 --> 01:19:31,566 USING SONG BIRDS IS A PROMISING 2365 01:19:31,633 --> 01:19:33,201 ANIMAL MODEL FOR STUDYING 2366 01:19:33,268 --> 01:19:34,870 AUDITORY MOTOR INTERACTIONS AND 2367 01:19:34,936 --> 01:19:37,372 OUR GOAL IS TO DO RECORDINGS IN 2368 01:19:37,439 --> 01:19:39,207 THE BRAIN IN AUDITORY REGIONS 2369 01:19:39,274 --> 01:19:40,342 AND PREMOTOR REGIONS TO SUE HOW 2370 01:19:40,408 --> 01:19:42,277 IS THE ACTIVITY IN THE PREMOTOR 2371 01:19:42,344 --> 01:19:43,712 REGION SHAPING AUDITORY 2372 01:19:43,778 --> 01:19:44,012 RESPONSES. 2373 01:19:44,079 --> 01:19:44,379 THANK YOU. 2374 01:19:44,446 --> 01:19:50,018 [APPLAUSE] 2375 01:19:50,085 --> 01:19:51,319 >> THANK YOU SO MUCH, MIMI. 2376 01:19:51,386 --> 01:19:53,889 I'M REALLY SORRY ABOUT THE 2377 01:19:53,955 --> 01:19:54,589 COMPUTER ISSUE. 2378 01:19:54,656 --> 01:19:56,124 WE'LL TRY TO GET THAT WORKED 2379 01:19:56,191 --> 01:19:56,424 OUT. 2380 01:19:56,491 --> 01:19:58,326 A LITTLE IRONIC TO HAVE PROBLEMS 2381 01:19:58,393 --> 01:20:01,463 WITH RHYTHM IN THAT TALK. 2382 01:20:01,530 --> 01:20:02,264 [LAUGHTER] 2383 01:20:02,330 --> 01:20:04,533 SO WE'RE GOING TO TAKE A REALLY 2384 01:20:04,599 --> 01:20:07,035 SHORT 15-MINUTE BREAK HERE, AND 2385 01:20:07,102 --> 01:20:09,137 THEN WE'LL COME RIGHT BACK AND 2386 01:20:09,204 --> 01:20:11,439 WE WILL START IN 15 MINUTES. 2387 01:20:11,506 --> 01:20:12,974 SO THANKS FOR THE FIRST COUPLE 2388 01:20:13,041 --> 01:20:14,809 TALKS AND WE'VE GOT MORE IN 2389 01:20:14,876 --> 01:20:15,844 SESSION ONE AFTER THAT. 2390 01:20:15,911 --> 01:20:20,715 THANKS. 2391 01:20:20,782 --> 01:20:22,284 RETURNING BACK TO OUR SESSION 2392 01:20:22,350 --> 01:20:23,385 ONE SCHEDULE, I'M GOING TO BRING 2393 01:20:23,451 --> 01:20:24,686 ON DR. ROBERT RIDDLE, WHO'S 2394 01:20:24,753 --> 01:20:26,087 GOING TO TAKE OVER AND GET US 2395 01:20:26,154 --> 01:20:30,592 GOING. 2396 01:20:30,659 --> 01:20:31,459 >> HI, EVERYBODY. 2397 01:20:31,526 --> 01:20:32,460 WELCOME BACK. 2398 01:20:32,527 --> 01:20:33,762 I KNOW THAT WAS A QUICK BREAK, 2399 01:20:33,828 --> 01:20:35,297 BUT WE'VE GOT A LOT OF REALLY 2400 01:20:35,363 --> 01:20:37,499 COOL TALKS TO HEAR. 2401 01:20:37,566 --> 01:20:39,034 AND SO WE'RE GOING TO GO AHEAD 2402 01:20:39,100 --> 01:20:40,669 AND START WITH THE NEXT SPEAKER. 2403 01:20:40,735 --> 01:20:44,472 JUST TO REMIND YOU, AFTER THE 2404 01:20:44,539 --> 01:20:45,373 SESSIONS, THE TALKS, WE'RE GOING 2405 01:20:45,440 --> 01:20:50,278 TO HAVE A PANELIST SESSION AS 2406 01:20:50,345 --> 01:20:51,313 WELL, AND THEN WE'RE GOING TO 2407 01:20:51,379 --> 01:20:53,248 ASK YOU THAT YOU HOLD YOUR 2408 01:20:53,315 --> 01:20:54,015 QUESTIONS THROUGH ALL THAT. 2409 01:20:54,082 --> 01:20:55,450 REMEMBER THE ONES THAT REALLY 2410 01:20:55,517 --> 01:20:56,484 STUCK WITH YOU, AND WE'RE GOING 2411 01:20:56,551 --> 01:20:58,420 TO HAVE A LOT OF TIME AFTER THE 2412 01:20:58,486 --> 01:21:00,755 PANELISTS GIVE A BRIEF 2413 01:21:00,822 --> 01:21:02,023 INTRODUCTION TO ASK ALL THE 2414 01:21:02,090 --> 01:21:03,491 QUESTIONS, WE'LL ALL BE SITTING 2415 01:21:03,558 --> 01:21:05,393 AT THE FRONT. 2416 01:21:05,460 --> 01:21:09,397 SO WE'RE TRYING TO KEEP ON 2417 01:21:09,464 --> 01:21:11,266 SCHEDULE BUT WE DO HAVE SOME 2418 01:21:11,333 --> 01:21:12,300 BITS BUILT IN THERE TO ACTUALLY 2419 01:21:12,367 --> 01:21:14,102 ASK SOME QUESTIONS AND HAVE SOME 2420 01:21:14,169 --> 01:21:14,369 DISCOURSE. 2421 01:21:14,436 --> 01:21:16,972 SO THE NEXT SPEAKER IS MALINDA 2422 01:21:17,038 --> 01:21:18,039 MCPHERSON, AND WITHOUT FURTHER 2423 01:21:18,106 --> 01:21:20,375 ADO, SHE'S GOING TO TELL US 2424 01:21:20,442 --> 01:21:25,747 ABOUT HER SCIENCE. 2425 01:21:25,814 --> 01:21:26,948 >> GOOD MORNING. 2426 01:21:27,015 --> 01:21:28,250 I'M DELIGHTED TO BE HERE TO TALK 2427 01:21:28,316 --> 01:21:30,819 ABOUT ONE OF THE OTHER 2428 01:21:30,885 --> 01:21:33,088 FOUNDATIONS OF MUSIC, WHICH IS 2429 01:21:33,154 --> 01:21:33,989 PITCH PERCEPTION. 2430 01:21:34,055 --> 01:21:35,390 SO PITCH CONVEYS CRITICAL 2431 01:21:35,457 --> 01:21:36,358 INFORMATION IN MUSIC, IT GIVES 2432 01:21:36,424 --> 01:21:38,226 US A SENSE OF MELODY AND OF 2433 01:21:38,293 --> 01:21:39,861 HARMONY, IT CONVEYS INFORMATION 2434 01:21:39,928 --> 01:21:41,630 IN SPEECH, AND IS ALSO INTEGRAL 2435 01:21:41,696 --> 01:21:44,366 TO RECOGNITION OF ENVIRONMENTAL 2436 01:21:44,432 --> 01:21:48,003 SOUNDS. 2437 01:21:48,069 --> 01:21:50,538 SO SOUNDS SAID TO HAVE PITCH ARE 2438 01:21:50,605 --> 01:21:51,506 GENERATED BY REPETITIVE OR 2439 01:21:51,573 --> 01:21:52,607 PERIODIC PROCESSES IN THE WORLD. 2440 01:21:52,674 --> 01:21:54,342 FOR EXAMPLE, THE VIBRATIONS OF 2441 01:21:54,409 --> 01:21:55,910 THE VOCAL FOLDS OR STRINGS ON 2442 01:21:55,977 --> 01:21:57,012 MUSICAL INSTRUMENTS OR THE 2443 01:21:57,078 --> 01:22:00,081 MEMBRANES OF SPEAKERS. 2444 01:22:00,148 --> 01:22:01,950 SO THE RATE OF REPETITION OF 2445 01:22:02,017 --> 01:22:03,418 PERIODIC SOUND IS REFERRED TO AS 2446 01:22:03,485 --> 01:22:05,387 THE FUNDAMENTAL FREQUENCY, OR 2447 01:22:05,453 --> 01:22:06,521 F0. 2448 01:22:06,588 --> 01:22:08,089 SO FOR EXAMPLE, IF A WAVE FORM 2449 01:22:08,156 --> 01:22:09,824 REPEATS IN TIME 200 TIMES A 2450 01:22:09,891 --> 01:22:12,560 SECOND, WE SAY THAT IT HAS AN F0 2451 01:22:12,627 --> 01:22:16,164 OR FUNDAMENTAL FREQUENCY OF 200 2452 01:22:16,231 --> 01:22:16,631 HERTZ. 2453 01:22:16,698 --> 01:22:18,633 SOUNDS THAT ARE PERIODIC IN TIME 2454 01:22:18,700 --> 01:22:21,002 GENERALLY ALSO HAVE HARMONICS, 2455 01:22:21,069 --> 01:22:23,071 WHICH ARE INTEGER MULTIPLES OF 2456 01:22:23,138 --> 01:22:24,072 THIS COMMON FUNDAMENTAL 2457 01:22:24,139 --> 01:22:25,307 FREQUENCY OR F0. 2458 01:22:25,373 --> 01:22:27,642 SO FOR EXAMPLE, IF WE LOOK AT 2459 01:22:27,709 --> 01:22:29,044 THE SPECTROGRAM WHICH ON THE X 2460 01:22:29,110 --> 01:22:31,146 AXIS WE HAVE TIME AND THE WHY WE 2461 01:22:31,212 --> 01:22:32,614 HAVE FREQUENCY, WE CAN SEE THESE 2462 01:22:32,681 --> 01:22:33,315 BANDS OF ENERGY. 2463 01:22:33,381 --> 01:22:34,816 THOSE BANDS OF ENERGY ARE THE 2464 01:22:34,883 --> 01:22:36,051 HARMONICS. 2465 01:22:36,117 --> 01:22:37,686 AND SO PITCH IS GENERALLY 2466 01:22:37,752 --> 01:22:40,021 DEFINED AS THE PERCEPT 2467 01:22:40,088 --> 01:22:41,623 CORRESPONDING TO THIS 2468 01:22:41,690 --> 01:22:46,561 PERIODICITY OR THIS HARMON IICIY 2469 01:22:46,628 --> 01:22:48,563 OF SOUNDS. 2470 01:22:48,630 --> 01:22:49,764 PITCH DISCRIMINATION HAS BEEN 2471 01:22:49,831 --> 01:22:53,401 CLASSILY ASSUMED TO RELY ON AN 2472 01:22:53,468 --> 01:22:54,669 ESTIMATE OR REPRESENTATION OF 2473 01:22:54,736 --> 01:22:56,771 THIS FUNDAMENTAL FREQUENCY. 2474 01:22:56,838 --> 01:22:59,274 SO SAY YOU ESTIMATE THE F0 OF 2475 01:22:59,341 --> 01:23:00,175 SAY ONE TONE OUT IN THE WORLD 2476 01:23:00,241 --> 01:23:01,609 AND YOU HEAR ANOTHER SOUND 2477 01:23:01,676 --> 01:23:03,445 YOU'LL ESTIMATE THE F0, THEN 2478 01:23:03,511 --> 01:23:04,679 YOU'LL COMPARE THOSE TWO 2479 01:23:04,746 --> 01:23:05,613 ESTIMATES IN ORDER TO DETERMINE, 2480 01:23:05,680 --> 01:23:07,248 FOR EXAMPLE, THAT THE PITCH HAS 2481 01:23:07,315 --> 01:23:08,583 CHANGED. 2482 01:23:08,650 --> 01:23:09,351 HOWEVER, THESE SIGNALS ARE 2483 01:23:09,417 --> 01:23:10,518 COMPLEX AND POTENTIALLY WE USE 2484 01:23:10,585 --> 01:23:11,786 OTHER MECHANISMS IN ORDER TO 2485 01:23:11,853 --> 01:23:13,455 DETERMINE THAT A PITCH HAS 2486 01:23:13,521 --> 01:23:13,755 CHANGED. 2487 01:23:13,822 --> 01:23:15,490 FOR EXAMPLE, WE COULD JUST TRACK 2488 01:23:15,557 --> 01:23:16,591 THAT ALL THE HARMONICS SHIFT 2489 01:23:16,658 --> 01:23:17,359 TOGETHER, THAT THERE'S A SHIFT 2490 01:23:17,425 --> 01:23:18,793 IN THE SPECTRUM OR THE FREQUENCY 2491 01:23:18,860 --> 01:23:19,994 COMPONENTS. 2492 01:23:20,061 --> 01:23:21,596 AND SO WHEN I STARTED WORKING ON 2493 01:23:21,663 --> 01:23:22,797 PITCH PERCEPTION, I WAS CURIOUS 2494 01:23:22,864 --> 01:23:24,065 ABOUT WHETHER WE COULD HAVE 2495 01:23:24,132 --> 01:23:25,834 MULTIPLE MECHANISMS FOR HEARING 2496 01:23:25,900 --> 01:23:28,370 PITCH CHANGES IN THE WORLD. 2497 01:23:28,436 --> 01:23:30,105 SO TO EXAMINE THIS QUESTION, I 2498 01:23:30,171 --> 01:23:33,074 TOOK HARMONIC SOUNDS, STANDARD 2499 01:23:33,141 --> 01:23:33,842 TONES OF VOICES AND PITCH THAT 2500 01:23:33,908 --> 01:23:36,978 WE HEAR, AND I JITTERED THEIR 2501 01:23:37,045 --> 01:23:38,613 FREQUENCY COMPONENTS TO MAKE 2502 01:23:38,680 --> 01:23:41,149 THEM INHARMONIC, SO I ELIMINATED 2503 01:23:41,216 --> 01:23:43,385 THESE RATIOS, THIS RELATIONSHIP 2504 01:23:43,451 --> 01:23:45,019 BETWEEN THESE HARMONICS, AND I 2505 01:23:45,086 --> 01:23:46,421 MADE THESE FREQUENCIES, 2506 01:23:46,488 --> 01:23:47,856 THEREFORE, INCONSISTENT WITH ANY 2507 01:23:47,922 --> 01:23:50,692 SINGLE F0. 2508 01:23:50,759 --> 01:23:52,694 THE LOGIC OF THIS MANIPULATION 2509 01:23:52,761 --> 01:23:54,329 IS THAT TASKS THAT RELY ON A 2510 01:23:54,396 --> 01:23:55,230 REPRESENTATION OF HARMONIC 2511 01:23:55,296 --> 01:23:56,765 STRUCTURE OR THE F0 SHOULD BE 2512 01:23:56,831 --> 01:24:00,034 IMPAIRED WITH THIS MANIPULATION. 2513 01:24:00,101 --> 01:24:02,003 AND SO I RAN A BASIC 2514 01:24:02,070 --> 01:24:02,537 DISCRIMINATION TASK. 2515 01:24:02,604 --> 01:24:04,305 THIS IS A STANDARD 2516 01:24:04,372 --> 01:24:06,074 PSYCHOACOUSTIC ASSESSMENT TASK 2517 01:24:06,141 --> 01:24:07,342 FOR PITCH DISCRIMINATION, IT'S 2518 01:24:07,409 --> 01:24:08,676 BEEN USED HUNDREDS OF TIMES. 2519 01:24:08,743 --> 01:24:10,678 YOU ASK LISTENERS IS THE SECOND 2520 01:24:10,745 --> 01:24:12,280 NOTE HIGHER OTHER LOWER THAN THE 2521 01:24:12,347 --> 01:24:12,647 FIRST. 2522 01:24:12,714 --> 01:24:13,848 AND SO I'M GOING TO JUST PLAY 2523 01:24:13,915 --> 01:24:16,518 YOU A DEMO TRIAL OF THESE 2524 01:24:16,584 --> 01:24:17,385 INHARMONIC STIMULI, AND 2525 01:24:17,452 --> 01:24:18,620 HOPEFULLY YOU'LL BE ABLE TO HEAR 2526 01:24:18,686 --> 01:24:19,687 THAT THE SECOND NOTE IS, IN 2527 01:24:19,754 --> 01:24:20,889 FACT,S HIGHER THAN THE FIRST. 2528 01:24:20,955 --> 01:24:22,424 LET'S SEE IF THIS WORKS. 2529 01:24:22,490 --> 01:24:23,091 WELL, IT DOESN'T. 2530 01:24:23,158 --> 01:24:25,627 BUT IF YOU DID -- 2531 01:24:25,693 --> 01:24:26,594 [LAUGHTER] 2532 01:24:26,661 --> 01:24:28,596 IF YOU HAD HEARD THAT SOUND, YOU 2533 01:24:28,663 --> 01:24:29,664 WOULD BE ABLE TO TELL THAT THE 2534 01:24:29,731 --> 01:24:30,565 SECOND NOTE WAS HIGHER AND I'LL 2535 01:24:30,632 --> 01:24:32,200 SHOW YOU THE DATA TO PROVE IT. 2536 01:24:32,267 --> 01:24:33,234 BUT I'LL JUST SAY THAT ACCORDING 2537 01:24:33,301 --> 01:24:35,069 TO TRADITIONAL MODELS OF PITCH, 2538 01:24:35,136 --> 01:24:43,378 THESE INHARMONIC TONES SHOULD 2539 01:24:43,445 --> 01:24:44,946 INDUCE GREATLY IMPAIRED 2540 01:24:45,013 --> 01:24:45,246 PERFORMANCE. 2541 01:24:45,313 --> 01:24:46,514 WHEN WE RAN THIS EXPERIMENT, WE 2542 01:24:46,581 --> 01:24:47,849 SEE THAT THE CURVES FOR THESE 2543 01:24:47,916 --> 01:24:49,617 TWO TYPES OF TONES, STANDARD 2544 01:24:49,684 --> 01:24:51,052 HARMONIC TONES AND INHARMONIC 2545 01:24:51,119 --> 01:24:52,720 TONES ARE OVERLAPPING. 2546 01:24:52,787 --> 01:24:56,257 SO BASICALLY F0, THIS HARMONIC 2547 01:24:56,324 --> 01:24:57,659 STRUCTURE, IS EVIDENTLY NOT 2548 01:24:57,725 --> 01:24:58,960 NECESSARY FOR DISCRIMINATING 2549 01:24:59,027 --> 01:25:00,829 PITCH. 2550 01:25:00,895 --> 01:25:03,998 WE RANSOM CON RAN SOME CONTROL S 2551 01:25:04,065 --> 01:25:05,333 TO FIGURE OUT WHAT'S ACTUALLY 2552 01:25:05,400 --> 01:25:06,534 HAPPENING IN THIS HARMONIC CASE. 2553 01:25:06,601 --> 01:25:07,469 THOSE INDICATE WHAT LISTENERS 2554 01:25:07,535 --> 01:25:09,037 ARE DOING IS JUST TRACKING THAT 2555 01:25:09,103 --> 01:25:10,705 ALL THE HARMONICS SHIFT 2556 01:25:10,772 --> 01:25:12,140 CONCURRENTLY WITHOUT ALSO 2557 01:25:12,207 --> 01:25:14,876 ESTIMATING THE F0. 2558 01:25:14,943 --> 01:25:16,611 SO CLASSIC DEFINITIONS OF PITCH 2559 01:25:16,678 --> 01:25:18,279 REALLY DO EQUATE OUR PERCEPTION 2560 01:25:18,346 --> 01:25:19,714 OF PITCH WITH THESE 2561 01:25:19,781 --> 01:25:20,782 REPRESENTATIONS OF FUNDAMENTAL 2562 01:25:20,849 --> 01:25:24,285 FREFREQUENCY OR F0. 2563 01:25:24,352 --> 01:25:26,054 BUT THIS RESULT SUGGESTS THE 2564 01:25:26,120 --> 01:25:27,455 MOST BASIC TASK WE CAN DO WITH 2565 01:25:27,522 --> 01:25:29,057 PITCH DOESN'T ACTUALLY REQUIRE 2566 01:25:29,123 --> 01:25:31,292 THESE REPRESENTATIONS. 2567 01:25:31,359 --> 01:25:32,861 SO THIS RESULT PRESENTED A 2568 01:25:32,927 --> 01:25:34,062 REALLY INTERESTING PUZZLE, SO 2569 01:25:34,128 --> 01:25:35,630 WHY IS HARMONIC STRUCTURE 2570 01:25:35,697 --> 01:25:36,798 NECESSARY FOR PITCH PERCEPTION? 2571 01:25:36,865 --> 01:25:39,434 IS IT NECESSARY AT ALL? 2572 01:25:39,501 --> 01:25:40,668 IN ORDER TO GAIN SOME INSIGHTS 2573 01:25:40,735 --> 01:25:42,637 INTO THIS, I TOOK THIS BASIC 2574 01:25:42,704 --> 01:25:44,038 TASK AND I ADDED A MEMORY LOAD. 2575 01:25:44,105 --> 01:25:47,175 SO I JUST ADDED A 32ND GAP 2576 01:25:47,242 --> 01:25:48,776 BETWEEN THE TWO NOTES. 2577 01:25:48,843 --> 01:25:50,378 THIS IS INCREDIBLY IMPORTANT IN 2578 01:25:50,445 --> 01:25:51,946 MUSIC WHERE OFTEN WE NEED TO 2579 01:25:52,013 --> 01:25:52,780 REMEMBER ONE PITCH OVER THE 2580 01:25:52,847 --> 01:25:57,018 COURSE OF, SAY, A MELODY. 2581 01:25:57,085 --> 01:25:58,419 SO THE QUESTION WAS DOES 2582 01:25:58,486 --> 01:26:00,688 INTRODUCING THIS DELAY MAKE 2583 01:26:00,755 --> 01:26:02,657 PERFORMANCE WORSE IN THIS 2584 01:26:02,724 --> 01:26:04,425 INHARMONIC CASE CARED TO THE 2585 01:26:04,492 --> 01:26:04,859 HARMONIC CASE. 2586 01:26:04,926 --> 01:26:05,527 HERE ARE OUR RESULTS. 2587 01:26:05,593 --> 01:26:08,496 IN THIS CASE I'M PLOTTING PITCH 2588 01:26:08,563 --> 01:26:09,564 DISCRIMINATION THRESHOLDS ON THE 2589 01:26:09,631 --> 01:26:11,199 Y AXIS, SO HERE LOWER IS BETTER 2590 01:26:11,266 --> 01:26:13,868 FOR EITHER NO DELAY OR A 2591 01:26:13,935 --> 01:26:14,302 THREE-SECOND DELAY. 2592 01:26:14,369 --> 01:26:15,670 IN THE NO-DELAY CONDITION, AGAIN 2593 01:26:15,737 --> 01:26:17,272 WE SEE THAT THERE'S COMPARABLE 2594 01:26:17,338 --> 01:26:18,306 PERFORMANCE FOR THIS HARMONIC 2595 01:26:18,373 --> 01:26:20,141 AND INHARMONIC TONES, HOWEVER, 2596 01:26:20,208 --> 01:26:22,544 WITH THE DELAY, WE FIND MUCH 2597 01:26:22,610 --> 01:26:23,845 WORSE PERFORMANCE IN THE 2598 01:26:23,912 --> 01:26:24,812 INHARMONIC CASE COMPARED TO THE 2599 01:26:24,879 --> 01:26:27,916 HARMONIC CASE. 2600 01:26:27,982 --> 01:26:29,517 THIS RESULT SUGGESTS THERE'S 2601 01:26:29,584 --> 01:26:30,151 ACTUALLY MEMORY REPRESENTATIONS 2602 01:26:30,218 --> 01:26:31,619 THAT ARE SOMEHOW SPECIFIC FOR 2603 01:26:31,686 --> 01:26:36,424 HARMONIC SOUNDS. 2604 01:26:36,491 --> 01:26:37,725 IN THIS EXPERIMENT, I CONTRASTED 2605 01:26:37,792 --> 01:26:40,361 THESE INHARMONIC TONES WHERE 2606 01:26:40,428 --> 01:26:41,696 LISTENERS SEEM TO USE A 2607 01:26:41,763 --> 01:26:42,530 REPRESENTATION OF THE SPECTRUM 2608 01:26:42,597 --> 01:26:43,798 WITH HARMONIC TONES WHERE 2609 01:26:43,865 --> 01:26:44,899 LISTENERS COULD USE A 2610 01:26:44,966 --> 01:26:46,100 REPRESENTATION OF THE SPECTRUM 2611 01:26:46,167 --> 01:26:47,969 OR THEY COULD ALSO ALTERNATIVELY 2612 01:26:48,036 --> 01:26:49,804 USE A REPRESENTATION OF THE 2613 01:26:49,871 --> 01:26:55,109 HARMONIC STUCK T STRUCTURE OR T. 2614 01:26:55,176 --> 01:26:59,347 I ACTUALLY ADDED A THIRD 2615 01:26:59,414 --> 01:27:01,549 CONDITION, IN THIS KAI THERE'S 2616 01:27:01,616 --> 01:27:02,750 NO COMMON HARMONICS BETWEEN THE 2617 01:27:02,817 --> 01:27:04,852 TWO TONES SO THE HYPOTHESIS IS 2618 01:27:04,919 --> 01:27:06,588 PEOPLE ACTUALLY MUST USE 2619 01:27:06,654 --> 01:27:07,755 REPRESENTATION OF THE HARMONIC 2620 01:27:07,822 --> 01:27:11,092 STLUK TOUR, THE F0 IN ORDER TO 2621 01:27:11,159 --> 01:27:11,859 MAKE PITCH COMPARISONS. 2622 01:27:11,926 --> 01:27:15,630 I'LL TRY TO PLAY THIS TOO, YOU 2623 01:27:15,697 --> 01:27:16,831 WON'T, OR YOU WOULD HAVE, AGAIN, 2624 01:27:16,898 --> 01:27:17,632 BUT WE FOUND SOMETHING 2625 01:27:17,699 --> 01:27:18,766 INTERESTING WHEN WE RAN THIS 2626 01:27:18,833 --> 01:27:20,134 THIRD CONDITION. 2627 01:27:20,201 --> 01:27:21,102 THERE'S TWO KEY EFFECTS HERE. 2628 01:27:21,169 --> 01:27:22,403 SO FIRST, LISTENERS ARE MUCH 2629 01:27:22,470 --> 01:27:23,838 WORSE WITH THESE TYPES OF TONES 2630 01:27:23,905 --> 01:27:26,240 WHEN THERE'S NO DELAY. 2631 01:27:26,307 --> 01:27:27,809 WHICH WE DID NOT AT FIRST 2632 01:27:27,875 --> 01:27:28,576 EXPECT. 2633 01:27:28,643 --> 01:27:29,677 HOWEVER, WE ALSO FOUND THAT 2634 01:27:29,744 --> 01:27:32,213 THERE'S NO SIGNIFICANT EFFECT OF 2635 01:27:32,280 --> 01:27:33,548 DELAY ON THESE TONES. 2636 01:27:33,615 --> 01:27:34,949 WHAT THIS PATTERN OF RESULTS 2637 01:27:35,016 --> 01:27:35,817 SUGGESTS HERE IS THAT LISTENERS 2638 01:27:35,883 --> 01:27:37,919 ARE ACTUALLY TRANSITIONING 2639 01:27:37,986 --> 01:27:39,454 BETWEEN ONE PITCH SYSTEM AND THE 2640 01:27:39,520 --> 01:27:42,290 SECOND ONE THAT RELIES ON 2641 01:27:42,357 --> 01:27:43,358 REPRESENTATION OF THE F0 AS SOON 2642 01:27:43,424 --> 01:27:45,393 AS THERE'S A MEMORY DEMAND. 2643 01:27:45,460 --> 01:27:46,628 HOWEVER, THIS IS CIRCUMSTANTIAL 2644 01:27:46,694 --> 01:27:48,229 EVIDENCE FOR THAT HYPOTHESIS. 2645 01:27:48,296 --> 01:27:51,265 SO IN ORDER TO PROVIDE MORE 2646 01:27:51,332 --> 01:27:52,834 CONCRETE EVIDENCE THAT WHAT 2647 01:27:52,900 --> 01:27:54,369 LISTENERS ARE, IN FACT, DOING IS 2648 01:27:54,435 --> 01:27:55,803 SWITCHING BETWEEN MULTIPLE 2649 01:27:55,870 --> 01:27:57,705 MECHANISMS OF PERCEIVING PITCH 2650 01:27:57,772 --> 01:28:00,875 IS WE LERCHG LEVERAGED THIS MEY 2651 01:28:00,942 --> 01:28:02,610 EFFECT AND USED AN INDIVIDUAL 2652 01:28:02,677 --> 01:28:03,544 DIFFERENCES APPROACH. 2653 01:28:03,611 --> 01:28:05,046 SO WE MEASURED PITCH 2654 01:28:05,113 --> 01:28:05,713 DISCRIMINATION THRESHOLDS IN 2655 01:28:05,780 --> 01:28:06,814 HUNDREDS OF PARTICIPANTS, WITH 2656 01:28:06,881 --> 01:28:09,083 AND WITHOUT THESE DELAY, WITH 2657 01:28:09,150 --> 01:28:11,219 THESE THREE DIFFERENT CONDITION, 2658 01:28:11,285 --> 01:28:13,955 AND OUR LOGIC HERE WAS THAT PER 2659 01:28:14,022 --> 01:28:16,257 PERFORMANCE ON TASKS THAT RELY 2660 01:28:16,324 --> 01:28:17,925 ON THE SAME UNDERLYING 2661 01:28:17,992 --> 01:28:19,027 REPRESENTATIONS SHOULD CORRELATE 2662 01:28:19,093 --> 01:28:19,727 ACROSS A POPULATION. 2663 01:28:19,794 --> 01:28:21,162 SO OUR DESIGN HERE AGAIN IS WE'D 2664 01:28:21,229 --> 01:28:22,830 HAVE PEOPLE DO THESE PITCH 2665 01:28:22,897 --> 01:28:23,865 DISCRIMINATION THRESHOLDS WITH 2666 01:28:23,931 --> 01:28:24,832 THESE THREE DIFFERENT TYPES OF 2667 01:28:24,899 --> 01:28:25,833 STIMULI, BOTH WITH AND WITHOUT 2668 01:28:25,900 --> 01:28:27,068 THIS MEMORY LOAD, AND I'LL BE 2669 01:28:27,135 --> 01:28:29,037 SHOWING YOU THE RESULT OF THIS 2670 01:28:29,103 --> 01:28:30,772 EXPERIMENT ON THIS AXIS WHERE 2671 01:28:30,838 --> 01:28:32,240 THE Y AXIS IS THE CORRELATION 2672 01:28:32,306 --> 01:28:33,307 ACROSS PARTICIPANTS FOR EITHER 2673 01:28:33,374 --> 01:28:34,742 NO DELAY OR A THREE-SECOND 2674 01:28:34,809 --> 01:28:36,611 DELAY. 2675 01:28:36,678 --> 01:28:38,312 SO I'LL JUST WALK YOU THROUGH 2676 01:28:38,379 --> 01:28:39,714 WHAT WE MIGHT EXPECT HERE. 2677 01:28:39,781 --> 01:28:42,650 SO LET'S JUST ZOOM IN ON THE TWO 2678 01:28:42,717 --> 01:28:44,218 HARMONIC CONDITIONS. 2679 01:28:44,285 --> 01:28:46,621 IN THE INTERLEAVED HARMONIC 2680 01:28:46,688 --> 01:28:47,922 CONDITION WE EXPECT LISTENERS 2681 01:28:47,989 --> 01:28:49,190 ARE GOING TO USE A 2682 01:28:49,257 --> 01:28:50,358 REPRESENTATION OF THE F0 TO DO 2683 01:28:50,425 --> 01:28:51,059 THE TASK. 2684 01:28:51,125 --> 01:28:52,393 THEY COULD ALSO USE A 2685 01:28:52,460 --> 01:28:53,428 REPRESENTATION OF THE F0 TO DO 2686 01:28:53,494 --> 01:28:55,530 THE TASK IN THE HARMONIC CASE. 2687 01:28:55,596 --> 01:28:57,298 AND IF EVERY PARTICIPANT IN OUR 2688 01:28:57,365 --> 01:28:59,167 EXPERIMENT IS USING THOSE TWO 2689 01:28:59,233 --> 01:29:00,501 REPRESENTATIONS FOR THOSE TWO 2690 01:29:00,568 --> 01:29:01,903 TASKS, THE PERFORMANCE ON THOSE 2691 01:29:01,969 --> 01:29:03,938 TWO TASKS SHOULD ACTUALLY 2692 01:29:04,005 --> 01:29:05,440 CORRELATE ACROSS OUR 2693 01:29:05,506 --> 01:29:06,441 PARTICIPANTS BECAUSE, AGAIN, 2694 01:29:06,507 --> 01:29:07,709 PERFORMANCE ON TASKS THAT RELY 2695 01:29:07,775 --> 01:29:09,777 ON THE SAME UNDERLYING MECHANISM 2696 01:29:09,844 --> 01:29:11,512 SHOULD CORRELATE. 2697 01:29:11,579 --> 01:29:14,615 SO WE MO MIGHT EXPECT SOMETHING 2698 01:29:14,682 --> 01:29:15,216 LIKE THIS. 2699 01:29:15,283 --> 01:29:17,218 INSTEAD, HOWEVER, WE FOUND AN 2700 01:29:17,285 --> 01:29:17,552 INTERACTION. 2701 01:29:17,618 --> 01:29:19,187 WE FOUND THAT WITHOUT A DELAY, 2702 01:29:19,253 --> 01:29:21,255 OUR HARMONIC AND I HARMONIC 2703 01:29:21,322 --> 01:29:22,957 CONDITIONS WERE STRONGLY 2704 01:29:23,024 --> 01:29:24,258 CORRELATED AND THIS DECREASED 2705 01:29:24,325 --> 01:29:25,359 WITH THE DELAY, AND THEN WE 2706 01:29:25,426 --> 01:29:27,128 FOUND THE OPPOSITE PATTERN FOR 2707 01:29:27,195 --> 01:29:30,765 OUR TWO HARMONIC CONDITIONS. 2708 01:29:30,832 --> 01:29:32,200 SO WHAT THIS SUGGESTS IS THAT 2709 01:29:32,266 --> 01:29:34,802 LISTENERS DO ACTUALLY TRANSITION 2710 01:29:34,869 --> 01:29:36,037 BETWEEN TWO DIFFERENT MODES OF 2711 01:29:36,104 --> 01:29:36,938 LISTENING, TWO DIFFERENT 2712 01:29:37,004 --> 01:29:38,339 REPRESENTATIONS OF PITCH, 2713 01:29:38,406 --> 01:29:39,974 DEPENDING ON THE MEMORY DEMAND. 2714 01:29:40,041 --> 01:29:41,242 AND AS FAR AS WE CAN TELL, THIS 2715 01:29:41,309 --> 01:29:42,410 HAPPENS BELOW THE LEVEL OF 2716 01:29:42,477 --> 01:29:43,745 CONSCIOUS AWARENESS. 2717 01:29:43,811 --> 01:29:45,847 WE'VE ALSO REPLICATED THIS 2718 01:29:45,913 --> 01:29:50,752 EXPERIMENT SEVERAL TIMES. 2719 01:29:50,818 --> 01:29:52,754 SO WE WERE CURIOUS, CAN WE 2720 01:29:52,820 --> 01:29:54,589 ACTUALLY FIND EVIDENCE OF IN IN 2721 01:29:54,655 --> 01:29:55,590 A NEURAL SYSTEM. 2722 01:29:55,656 --> 01:29:58,760 I'VE BEEN INVESTIGATING NEURAL 2723 01:29:58,826 --> 01:30:00,428 RESPONSES TO INHARMONIC TONES 2724 01:30:00,495 --> 01:30:00,962 USING FMRI. 2725 01:30:01,028 --> 01:30:02,463 IN THIS EXPERIMENT, LISTENERS 2726 01:30:02,530 --> 01:30:03,664 HEARD MELODIES MADE UP OF 2727 01:30:03,731 --> 01:30:05,399 DIFFERENT TYPES OF TONES, SO 2728 01:30:05,466 --> 01:30:06,834 AGAIN THESE HARMONIC TONES, 2729 01:30:06,901 --> 01:30:09,137 STANDARD TONES WE HEAR IN MUSIC, 2730 01:30:09,203 --> 01:30:10,371 INHARMONIC TONES AND SPECTRALLY 2731 01:30:10,438 --> 01:30:10,872 MATCHED NOISE. 2732 01:30:10,938 --> 01:30:13,341 AND WITH HALF OF OUR DATA, WE 2733 01:30:13,407 --> 01:30:14,976 DESIGNED A CONTRAST WHERE WE 2734 01:30:15,042 --> 01:30:16,077 TOOK -- WHERE WE WERE LACKING 2735 01:30:16,144 --> 01:30:18,379 FOR PITCH-SENSITIVE REGIONS OF 2736 01:30:18,446 --> 01:30:20,081 CORTEX SO WE CONTRASTED THOSE 2737 01:30:20,148 --> 01:30:21,783 HARMONIC TONES WITH SPECTRALLY 2738 01:30:21,849 --> 01:30:23,417 MATCHED NOISE, THEN LOOKING IN 2739 01:30:23,484 --> 01:30:26,854 THOSE VOXELS, WITH HE TRIED TO O 2740 01:30:26,921 --> 01:30:28,556 SEE IN INDEPENDENT DATA HOW THEY 2741 01:30:28,623 --> 01:30:30,057 RESPONDED TO ALL OUR DIFFERENT 2742 01:30:30,124 --> 01:30:30,358 CONDITIONS. 2743 01:30:30,424 --> 01:30:32,693 WHEN WE DID THIS, WHAT WE FOUND 2744 01:30:32,760 --> 01:30:33,628 INTERESTINGLY WAS THAT 2745 01:30:33,694 --> 01:30:35,563 PITCH-SENSITIVE AREAS OF CORTEX 2746 01:30:35,630 --> 01:30:36,564 RESPOND LEAK TO THESE HARMONIC 2747 01:30:36,631 --> 01:30:38,099 AND INHARMONIC STIMULI. 2748 01:30:38,166 --> 01:30:39,534 SO THESE INHARMONIC STIMULI 2749 01:30:39,600 --> 01:30:41,502 WHICH DON'T ACTUALLY HAVE A 2750 01:30:41,569 --> 01:30:44,338 CLASSIC NOTION OF PITCH AT ALL 2751 01:30:44,405 --> 01:30:45,840 DO DRIVE PITCH-SENSITIVE AREAS 2752 01:30:45,907 --> 01:30:49,310 OF CORTEX. 2753 01:30:49,377 --> 01:30:52,513 THE TWO BARS ARE THE SAME HERE. 2754 01:30:52,580 --> 01:30:53,681 SO WHAT I'VE SHOWN YOU TODAY IS 2755 01:30:53,748 --> 01:30:56,450 EVIDENCE FOR TWO DIFFERENT PITCH 2756 01:30:56,517 --> 01:30:57,318 REPRESENTATIONS. 2757 01:30:57,385 --> 01:30:59,053 MEMORY FOR RICH SEEMS TO REQUIRE 2758 01:30:59,120 --> 01:31:01,155 REPRESENTATIONS OF F0. 2759 01:31:01,222 --> 01:31:01,956 HOWEVER, REALTIME PITCH 2760 01:31:02,023 --> 01:31:03,491 PERCEPTION ACTUALLY REQUIRES 2761 01:31:03,558 --> 01:31:04,058 REPRESENTATIONINGS OF THE 2762 01:31:04,125 --> 01:31:06,427 SPECTRUM. 2763 01:31:06,494 --> 01:31:08,229 AND PITCH REGIONS OF AUDITORY 2764 01:31:08,296 --> 01:31:09,764 CORTEX RESPOND SIMILARLY TO BOTH 2765 01:31:09,831 --> 01:31:12,667 HARMONIC AND INHARMONIC STIMULI. 2766 01:31:12,733 --> 01:31:14,502 SO I'VE ACTUALLY USED THIS 2767 01:31:14,569 --> 01:31:16,003 CONTRAST BETWEEN HARMONIC AND IP 2768 01:31:16,070 --> 01:31:17,572 HARMONIC STIMULI TO INVESTIGATE 2769 01:31:17,638 --> 01:31:18,739 HOW HARMONIC STRUCTURE IS 2770 01:31:18,806 --> 01:31:19,874 IMPORTANT FOR MANY DIFFERENT 2771 01:31:19,941 --> 01:31:21,175 ASPECTS OF HEARING, BOTH IN 2772 01:31:21,242 --> 01:31:22,310 MUSIC AND IN SPEECH. 2773 01:31:22,376 --> 01:31:23,811 AND WE FOUND THAT HARMONIC 2774 01:31:23,878 --> 01:31:25,580 STRUCTURE OR F0 SEEMS TO BE 2775 01:31:25,646 --> 01:31:28,182 CRITICAL FOR REMEMBERING PITCH, 2776 01:31:28,249 --> 01:31:30,284 WHICH IECH SHOWN YOU TODAY, 2777 01:31:30,351 --> 01:31:31,552 MUSICAL INTERVAL DISCRIMINATION 2778 01:31:31,619 --> 01:31:32,954 AND OUT OF KEYNOTE DETECTION, 2779 01:31:33,020 --> 01:31:34,589 HEARING AND DISCRIMINATING TONES 2780 01:31:34,655 --> 01:31:41,295 AND MED D MELODIES AND NOISE, AD 2781 01:31:41,362 --> 01:31:43,898 VOICE RECOGNITION. 2782 01:31:43,965 --> 01:31:47,235 BUT INTERESTINGLY WE DO NOT NEED 2783 01:31:47,301 --> 01:31:48,669 HARMONIC STRUCTURE FOR BASIC 2784 01:31:48,736 --> 01:31:50,071 SPICH DISCRIMINATION, FOR 2785 01:31:50,137 --> 01:31:52,974 PROVIDING INVARIANCE TO TIMBRAL 2786 01:31:53,040 --> 01:31:54,575 DIFFERENCES, SO HOPEFULLY I'VE 2787 01:31:54,642 --> 01:31:56,110 CONVINCED YOU THAT PITCH 2788 01:31:56,177 --> 01:31:57,011 REPRESENTATIONS ARE FAR MORE 2789 01:31:57,078 --> 01:31:58,246 DIVERSE AND INTERESTING THAN 2790 01:31:58,312 --> 01:31:58,779 PREVIOUSLY THOUGHT. 2791 01:31:58,846 --> 01:32:01,349 THANK YOU ALL FOR YOUR TIME, AND 2792 01:32:01,415 --> 01:32:02,216 THANK YOU FOR LISTENING. 2793 01:32:02,283 --> 01:32:12,460 [APPLAUSE] 2794 01:32:13,261 --> 01:32:14,262 >> HI, EVERYBODY. 2795 01:32:14,328 --> 01:32:16,430 I'M REALLY EXCITED TO BE HERE. 2796 01:32:16,497 --> 01:32:20,635 I'M AMY S BELFI. 2797 01:32:20,701 --> 01:32:21,836 I'M GOING TO GIVE YOU A REALLY 2798 01:32:21,903 --> 01:32:26,007 QUICK OVERVIEW, I WAS LIKE 2799 01:32:26,073 --> 01:32:27,208 THAT'S A LOT, I'M GOING TO JUST 2800 01:32:27,275 --> 01:32:28,376 DO ABOUT FIVE MINUTES ON THE 2801 01:32:28,442 --> 01:32:31,412 MEMORY STUFF, FIVE MINUTES ON 2802 01:32:31,479 --> 01:32:35,483 THETHE ESTHETICS STUFF. 2803 01:32:35,549 --> 01:32:36,617 SO WHEN I TALK ABOUT MEMORY, I'M 2804 01:32:36,684 --> 01:32:39,787 GOING TO SPECIFICALLY BE 2805 01:32:39,854 --> 01:32:41,355 DISCUSSING AUTOBIOGRAPHICAL 2806 01:32:41,422 --> 01:32:42,757 MEMORIES, MEMORIES OF EVENTS OF 2807 01:32:42,823 --> 01:32:44,025 THINGS THAT HAPPEN TO YOU IN 2808 01:32:44,091 --> 01:32:44,859 YOUR LIFE. 2809 01:32:44,926 --> 01:32:46,827 SO TO GIVE AN EXAMPLE, THE OTHER 2810 01:32:46,894 --> 01:32:48,095 DAY I WAS AT THE GROCERY STORE 2811 01:32:48,162 --> 01:32:51,666 AND I HEARD THIS SONG, CHRISTINA 2812 01:32:51,732 --> 01:32:54,101 AGUILERA'S FIGHTER, AND IT TOOK 2813 01:32:54,168 --> 01:32:55,870 ME RIGHT BACK TO HIGH SCHOOL I 2814 01:32:55,937 --> 01:32:57,271 REMEMBER BEING AT A HIGH SCHOOL 2815 01:32:57,338 --> 01:32:58,606 DANCE, DANCING AROUND THE GYM, 2816 01:32:58,673 --> 01:33:00,608 BEING ALL SWEATY WITH MY 2817 01:33:00,675 --> 01:33:01,709 FRIENDS, AND I HADN'T THOUGHT 2818 01:33:01,776 --> 01:33:02,910 ABOUT THAT MEMORY IN A LONG 2819 01:33:02,977 --> 01:33:05,112 TIME, BUT HEARING THAT SONG JUST 2820 01:33:05,179 --> 01:33:05,980 REALLY TRANSPORTED ME BACK TO 2821 01:33:06,047 --> 01:33:07,081 THAT MOMENT AND THEN ALSO 2822 01:33:07,148 --> 01:33:08,516 REMINDED ME OF THIS MEEM I SAW 2823 01:33:08,582 --> 01:33:10,117 ON THE INTERNET RECENTLY THAT 2824 01:33:10,184 --> 01:33:11,385 SAID YOU KNOW YOU'RE GETTING OLD 2825 01:33:11,452 --> 01:33:13,187 THAT THE SONGS YOU USED TO DANCE 2826 01:33:13,254 --> 01:33:15,256 TO AT 2:00 A.M. AT THE CLUB ARE 2827 01:33:15,323 --> 01:33:16,257 NOW PLAYED IN THE GROCERY STORE. 2828 01:33:16,324 --> 01:33:20,227 I WAS LIKE, THAT IS SO TRUE. 2829 01:33:20,294 --> 01:33:22,897 SO ANYWAY, THIS IS PROBABLY AN 2830 01:33:22,964 --> 01:33:24,365 EXPERIENCE YOU MIGHT NOT HAVE 2831 01:33:24,432 --> 01:33:25,433 HAD AT THE GROCERY STORE BUT 2832 01:33:25,499 --> 01:33:26,767 MOST OF US HAVE HAD, WHERE WE 2833 01:33:26,834 --> 01:33:27,969 SAW A SONG THAT REALLY TOOK US 2834 01:33:28,035 --> 01:33:32,106 BACK TO A MOMENT FROM OUR LIFE. 2835 01:33:32,173 --> 01:33:34,141 SO WHAT I HAVE BEEN TRYING TO 2836 01:33:34,208 --> 01:33:35,843 GET AT IN MY WORK IS WHY, FIRST 2837 01:33:35,910 --> 01:33:39,013 OF ALL, IS MUSIC BET ARE AT 2838 01:33:39,080 --> 01:33:40,514 DOING THIS THAN OTHER TYPES OF 2839 01:33:40,581 --> 01:33:41,816 SENSORY CUES AND IF SO, WHAT IS 2840 01:33:41,882 --> 01:33:43,084 IT ABOUT THE MUSIC THAT MAKES IT 2841 01:33:43,150 --> 01:33:45,052 SUCH A POTENT TRIGGER FOR 2842 01:33:45,119 --> 01:33:45,419 MEMORIES. 2843 01:33:45,486 --> 01:33:46,887 IF WE UNDERSTAND THE HOW AND WHY 2844 01:33:46,954 --> 01:33:48,622 OF HOW IS MUSIC ABLE TO DO THIS, 2845 01:33:48,689 --> 01:33:50,191 THEN WE CAN BETTER USE MUSIC TO 2846 01:33:50,257 --> 01:33:52,526 DO THIS WHEN WE'RE DESIGNING 2847 01:33:52,593 --> 01:33:54,128 INTERVENTIONS FOR, SAY, PEOPLE 2848 01:33:54,195 --> 01:33:56,731 WITH AGE-RELATED MEMO REA 2849 01:33:56,797 --> 01:33:57,832 DECLINE. 2850 01:33:57,898 --> 01:33:59,266 I'M GOING TO WALK YOU THROUGH 2851 01:33:59,333 --> 01:34:00,801 THE FIRST STUDY I DID ON THIS 2852 01:34:00,868 --> 01:34:02,870 TOPIC WHICH WAS ABOUT 10 YEARS, 2853 01:34:02,937 --> 01:34:04,638 REALLY TRYING TO BE IS MUSIC 2854 01:34:04,705 --> 01:34:05,339 BETTER THAN ANYTHING ELSE. 2855 01:34:05,406 --> 01:34:06,774 SO IN THIS STUDY, PARTICIPANTS 2856 01:34:06,841 --> 01:34:07,975 CAME INTO THE LAB AND THEY 2857 01:34:08,042 --> 01:34:09,643 LISTENED TO A BUNCH OF DIFFERENT 2858 01:34:09,710 --> 01:34:10,611 MUSICAL SELECTIONS AND THE GOAL 2859 01:34:10,678 --> 01:34:12,079 WAS TO TRIGGER AS MANY MEMORIES 2860 01:34:12,146 --> 01:34:13,447 AS POSSIBLE. 2861 01:34:13,514 --> 01:34:17,351 SO WE ADAPTED THIS METHOD FROM 2862 01:34:17,418 --> 01:34:19,120 WHAT HAD BEEN DONE A FEW YEARS 2863 01:34:19,186 --> 01:34:20,688 PRIOR WHERE WE PLAYED POPULAR 2864 01:34:20,755 --> 01:34:21,455 TRACKS FROM THE BILLBOARD CHARTS 2865 01:34:21,522 --> 01:34:23,090 AND WE PICKED THEM FOR EACH 2866 01:34:23,157 --> 01:34:24,291 PARTICIPANT BASED ON THEIR AGE. 2867 01:34:24,358 --> 01:34:26,394 SO PARTICIPANTS HEARD SONGS THAT 2868 01:34:26,460 --> 01:34:27,294 WERE POPULAR WHEN THEY WERE 2869 01:34:27,361 --> 01:34:29,530 BETWEEN THE AGES OF 15 AND 30 2870 01:34:29,597 --> 01:34:29,930 YEARS OLD. 2871 01:34:29,997 --> 01:34:31,699 I HAVE SOME EXAMPLE, I HAVE A 2872 01:34:31,766 --> 01:34:32,833 HUNCH THEY'RE PROBABLY NOT GOING 2873 01:34:32,900 --> 01:34:34,368 TO WORK BUT LET'S JUST SEE. 2874 01:34:34,435 --> 01:34:35,002 OH, YES! 2875 01:34:35,069 --> 01:34:37,505 OKAY. 2876 01:34:37,571 --> 01:34:40,174 ♪ SO IF YOU ARE AROUND MY AGE 2877 01:34:40,241 --> 01:34:41,809 YOU MIGHT HEAR SOMETHING LIKE 2878 01:34:41,876 --> 01:34:43,244 THAT, LADY GAGA, IF YOU'RE A 2879 01:34:43,310 --> 01:34:44,512 LITTLE OLDER THAN ME YOU MIGHT 2880 01:34:44,578 --> 01:34:45,379 HEAR THIS. 2881 01:34:45,446 --> 01:34:50,017 ♪ AND IF YOU'RE A LITTLE OLDER 2882 01:34:50,084 --> 01:34:52,887 THEN YOU MIGHT HEAR THIS. 2883 01:34:52,953 --> 01:34:55,189 ♪ BOOM, BOOM INTO MY HEART ♪ 2884 01:34:55,256 --> 01:34:57,158 >> I HATE TO CUT OFF THOSE GREAT 2885 01:34:57,224 --> 01:34:58,726 TRACKS, BUT SO AFTER EACH TRACK, 2886 01:34:58,793 --> 01:35:01,128 WE JUST ASK PARTICIPANTS, DID 2887 01:35:01,195 --> 01:35:02,463 THAT EVOKE A MEMORY FOR YOU? 2888 01:35:02,530 --> 01:35:03,631 IF SO, PLEASE DESCRIBE THE 2889 01:35:03,697 --> 01:35:04,165 MEMORY. 2890 01:35:04,231 --> 01:35:05,132 THEY HEARD 30 SONGS. 2891 01:35:05,199 --> 01:35:06,801 ON AVERAGE, ABOUT 10 OF THE 30 2892 01:35:06,867 --> 01:35:07,401 TRIGGERED MEMORIES. 2893 01:35:07,468 --> 01:35:09,136 AND THAT'S BEEN REPLICATED IN 2894 01:35:09,203 --> 01:35:10,871 SUBSEQUENT RESEARCH. 2895 01:35:10,938 --> 01:35:13,774 SO THEN WE WI HAD TO DECIDE WHAE 2896 01:35:13,841 --> 01:35:16,844 WE GOING TO COMPARE MUSIC TO? 2897 01:35:16,911 --> 01:35:18,179 IN THIS FIRST STUDY WE CHOSE 2898 01:35:18,245 --> 01:35:19,180 PICTURES OF CELEBRITIES FOR A 2899 01:35:19,246 --> 01:35:19,980 FEW REASONS. 2900 01:35:20,047 --> 01:35:22,550 ONE, THEY'RE JUST LAKE POPULAR 2901 01:35:22,616 --> 01:35:24,185 MUSIC, UBIQUITOUSLY EXPERIENCE A 2902 01:35:24,251 --> 01:35:25,553 PART OF POPULAR CULTURE, HIGHLY 2903 01:35:25,619 --> 01:35:27,121 FAMILIAR, AND ALSO WE COULD TIME 2904 01:35:27,188 --> 01:35:28,255 MATCH THEM TO THE PARTICIPANTS 2905 01:35:28,322 --> 01:35:28,556 TOO. 2906 01:35:28,622 --> 01:35:29,824 SO IF YOU HEARD THE LADY GAGA 2907 01:35:29,890 --> 01:35:32,827 SONG YOU MIGHT SEE A PICTURE OF 2908 01:35:32,893 --> 01:35:33,761 GEORGE W. BUSH, BOTH FROM THE 2909 01:35:33,828 --> 01:35:34,728 2000s. 2910 01:35:34,795 --> 01:35:36,297 SO WE SHOWED THEM 30 PICTURES OF 2911 01:35:36,363 --> 01:35:37,798 CELEBRITIES AND ASKED THEM DID 2912 01:35:37,865 --> 01:35:39,400 THIS CAUSE A MEMORY FOR YOU, IF 2913 01:35:39,467 --> 01:35:40,935 SO, PLEASE DESCRIBE THE MEMORY. 2914 01:35:41,001 --> 01:35:42,436 WE AUDIO-RECORDED THE WHOLE 2915 01:35:42,503 --> 01:35:43,504 SESSION, TRANSCRIBED THEM, AND 2916 01:35:43,571 --> 01:35:46,440 THEN WITH USED THAT AUTO BAY 2917 01:35:46,507 --> 01:35:47,341 GRAPHICAL INTERVIEW CODING 2918 01:35:47,408 --> 01:35:48,776 TECHNIQUE TO QUANTIFY THE 2919 01:35:48,843 --> 01:35:50,411 EPISODIC DETAIL OF THE MEMORY. 2920 01:35:50,478 --> 01:35:52,179 SO THE QUESTION IS, ARE THE 2921 01:35:52,246 --> 01:35:53,848 MEMORIES TRIGGERED BY MUSIC 2922 01:35:53,914 --> 01:35:55,616 BETTER OR MORE EPISODICALLY 2923 01:35:55,683 --> 01:35:57,017 DETAILED, RICHER, MORE VIVID 2924 01:35:57,084 --> 01:35:58,385 MEMORIES THAN THE MEMORIES 2925 01:35:58,452 --> 01:35:59,153 EVOKED BY THE PICTURES OF THE 2926 01:35:59,220 --> 01:36:00,554 FACES. 2927 01:36:00,621 --> 01:36:01,789 SO WHAT I PLOTTED HERE IS THE 2928 01:36:01,856 --> 01:36:03,190 DATA FROM THAT FIRST STUDY ON 2929 01:36:03,257 --> 01:36:05,192 THE Y AXIS, IS THAT THAT 2930 01:36:05,259 --> 01:36:06,627 QUANTIFICATION OF THE MEMORY 2931 01:36:06,694 --> 01:36:09,029 CONTENT, THE EPISODIC RICHNESS 2932 01:36:09,096 --> 01:36:11,298 IN THE DARK GREY BAR IS THE 2933 01:36:11,365 --> 01:36:12,700 MUSIC EVOKED MEMORY SO YOU CAN 2934 01:36:12,766 --> 01:36:14,702 SEE THEY WERE MORE EPISODICALLY 2935 01:36:14,768 --> 01:36:16,137 DETAILED, RICHER, MORE VIVID 2936 01:36:16,203 --> 01:36:17,238 MEMORIES THAN THOSE EVOKED BY 2937 01:36:17,304 --> 01:36:18,706 THE PICTURES OF THE FACES. 2938 01:36:18,772 --> 01:36:20,774 MORE RECENTLY, WE'VE REPLICATE 2939 01:36:20,841 --> 01:36:23,611 THIS STUDY AND WE USE MORE 2940 01:36:23,677 --> 01:36:24,378 ADVANCED STATISTICAL TECHNIQUES 2941 01:36:24,445 --> 01:36:27,381 AND WE CAN ACTUALLY PREDICT WITH 2942 01:36:27,448 --> 01:36:29,016 ABOVE CHANCE ACCURACY WHETHER A 2943 01:36:29,083 --> 01:36:30,317 MEMORY WAS TRIGGERED BY A SONG 2944 01:36:30,384 --> 01:36:31,619 OR BY A FACE JUST FROM THE 2945 01:36:31,685 --> 01:36:32,720 MEMORY CONTENT ITSELF. 2946 01:36:32,786 --> 01:36:34,588 SO THESE MEMORIES EVOKED BY 2947 01:36:34,655 --> 01:36:35,723 MUSIC SEEM TO BE QUITE DIFFERENT 2948 01:36:35,789 --> 01:36:37,491 THAN MEMORIES EVOKED BY THESE 2949 01:36:37,558 --> 01:36:38,359 PICTURES OF FACES. 2950 01:36:38,425 --> 01:36:40,060 SO THAT WAS REALLY THE INITIAL 2951 01:36:40,127 --> 01:36:41,996 STUDY COMPARING MUSIC TO 2952 01:36:42,062 --> 01:36:43,697 SOMETHING ELSE, AND SINCE THEN 2953 01:36:43,764 --> 01:36:45,633 WORK BY MYSELF AND OTHERS HAS 2954 01:36:45,699 --> 01:36:46,867 COMPARED MUSIC TO A WHOLE HOST 2955 01:36:46,934 --> 01:36:48,269 OF DIFFERENT TYPES OF MEMORY 2956 01:36:48,335 --> 01:36:48,736 CUES. 2957 01:36:48,802 --> 01:36:50,271 SO PEOPLE HAVE USED WORD CUES, 2958 01:36:50,337 --> 01:36:51,705 WHICH WOULD BE SOMETHING LIKE 2959 01:36:51,772 --> 01:36:53,674 TELL ME A MEMORY FROM YOUR 2960 01:36:53,741 --> 01:36:55,209 CHILDHOOD, AND MUSIC EVOKED 2961 01:36:55,276 --> 01:36:58,012 MEMORIES TEND TO HAVE MORE 2962 01:36:58,078 --> 01:36:59,146 PERCEPTUAL DETAILS. 2963 01:36:59,213 --> 01:37:00,314 THEY'VE COMPARED THEM TO PICTURE 2964 01:37:00,381 --> 01:37:02,149 OF WORLD EVENTS, TO TELEVISION 2965 01:37:02,216 --> 01:37:04,852 SHOWS, TO FOOD CUES, AND 2966 01:37:04,919 --> 01:37:05,819 WHETHER -- DEPENDING ON THE 2967 01:37:05,886 --> 01:37:07,922 SPECIFIC CUE, MUSIC TENDS TO 2968 01:37:07,988 --> 01:37:09,790 COME OUT ON TOP, WHETHER IT'S IN 2969 01:37:09,857 --> 01:37:11,358 TERMS OF THE MUSIC EVOKED 2970 01:37:11,425 --> 01:37:14,628 MEMORIES ARE MORE EMOTIONAL, 2971 01:37:14,695 --> 01:37:15,529 THEY'RE MORE VIVID, THEY MAKE 2972 01:37:15,596 --> 01:37:17,398 YOU FEEL LIKE YOU'RE 2973 01:37:17,464 --> 01:37:18,032 REEXPERIENCING THAT EVENT. 2974 01:37:18,098 --> 01:37:19,166 AND SOME OF THESE STUDIES WERE 2975 01:37:19,233 --> 01:37:21,068 DONE IN THE LAB, AND THE BULLET 2976 01:37:21,135 --> 01:37:22,603 POINT AT THE BOTTOM, WE ACTUALLY 2977 01:37:22,670 --> 01:37:24,238 DID IN EVERYDAY LIFE, SO WE HAVE 2978 01:37:24,305 --> 01:37:25,506 PEOPLE GO ABOUT THEIR DAILY LIFE 2979 01:37:25,573 --> 01:37:27,141 WITH EITHER A PAPER DIARY OR AN 2980 01:37:27,208 --> 01:37:28,576 APP, AND THEY INDICATE WHENEVER 2981 01:37:28,642 --> 01:37:30,511 THEY EXPERIENCE A MUSIC-OWE 2982 01:37:30,578 --> 01:37:32,913 VO-EVOKEDMEMORY. 2983 01:37:32,980 --> 01:37:34,381 SO IN LABORATORY OR EVERYDAY 2984 01:37:34,448 --> 01:37:36,884 SETTINGS, THE MUSIC-EVOKED 2985 01:37:36,951 --> 01:37:37,685 MEMORIES TEND TO BE DIFFERENT 2986 01:37:37,751 --> 01:37:39,553 THAN MEMORIES EVOKED BY THESE 2987 01:37:39,620 --> 01:37:40,955 OTHER CUE, AND THEY'RE USUALLY 2988 01:37:41,021 --> 01:37:42,623 DIFFERENT IN MORE ADVANTAGEOUS 2989 01:37:42,690 --> 01:37:42,957 WAYS. 2990 01:37:43,023 --> 01:37:44,258 SO MORE RECENTLY, I'VE BEEN KIND 2991 01:37:44,325 --> 01:37:46,160 OF THINKING ABOUT THIS SO WHAT, 2992 01:37:46,227 --> 01:37:47,528 SO OKAY, WE PLAY MUSIC FOR 2993 01:37:47,595 --> 01:37:48,729 PEOPLE AND IT CAUSES THEM TO 2994 01:37:48,796 --> 01:37:49,396 EXPERIENCE MEMORIES. 2995 01:37:49,463 --> 01:37:50,731 HOW DOES THAT INFLUENCE THEIR 2996 01:37:50,798 --> 01:37:53,834 EMOTIONS OR THEIR MOOD, OR DOES 2997 01:37:53,901 --> 01:37:54,735 IT INFLUENCE THEIR DAY IN 2998 01:37:54,802 --> 01:37:55,502 POSITIVE WAYS? 2999 01:37:55,569 --> 01:37:57,671 SO MOST RECENTLY, WEE WAVE BEEN 3000 01:37:57,738 --> 01:37:59,573 DOING A STUDY TO TRY AND GET AT 3001 01:37:59,640 --> 01:38:00,341 WHAT'S THE DIFFERENCE BETWEEN 3002 01:38:00,407 --> 01:38:01,242 LISTENING TO A SONG THAT 3003 01:38:01,308 --> 01:38:02,676 TRIGGERS A MEMORY VERSUS A SONG 3004 01:38:02,743 --> 01:38:04,011 THAT DOES NOT DRUGGER A MEMORY? 3005 01:38:04,078 --> 01:38:05,246 SO WE HAD PARTICIPANTS COME INTO 3006 01:38:05,312 --> 01:38:06,680 THE LAB, THEY RATED THEIR 3007 01:38:06,747 --> 01:38:08,015 EMOTIONS AT BASELINE, AND THEN 3008 01:38:08,082 --> 01:38:09,350 THEY LISTENED TO FIVE MINUTES OF 3009 01:38:09,416 --> 01:38:10,684 MUSIC THAT WAS EITHER 3010 01:38:10,751 --> 01:38:12,219 MEMORY-EVOKING OR JUST KIND OF 3011 01:38:12,286 --> 01:38:13,420 MORE GENERIC NEUTRAL MUSIC. 3012 01:38:13,487 --> 01:38:14,888 AND THEN THEY RATED THEIR 3013 01:38:14,955 --> 01:38:16,357 EMOTIONS RIGHT AFTER, 10 MINUTES 3014 01:38:16,423 --> 01:38:18,058 AFTER AND 20 MINUTES A WE HAD 3015 01:38:18,125 --> 01:38:19,960 THEM RATE A BUNCH OF EMOTIONS. 3016 01:38:20,027 --> 01:38:21,328 WHAT I PLOTTED HERE IS HAPPINESS 3017 01:38:21,395 --> 01:38:22,663 IS ON THE LEFT AND SADNESS IS ON 3018 01:38:22,730 --> 01:38:23,264 THE RIGHT. 3019 01:38:23,330 --> 01:38:24,932 WE DID THIS IN YOUNGER AND OLDER 3020 01:38:24,999 --> 01:38:26,166 ADULTS AS WELL. 3021 01:38:26,233 --> 01:38:28,469 SO THE YOUNGER ADULTS ARE 3022 01:38:28,535 --> 01:38:30,037 PLOTTED IN TRIANGLES AND THE 3023 01:38:30,104 --> 01:38:31,572 OLDER ADULTS ARE PLOTTED IN 3024 01:38:31,639 --> 01:38:31,805 CIRCLES. 3025 01:38:31,872 --> 01:38:33,540 ON THE LEFT, FOR HAPPINESS, WE 3026 01:38:33,607 --> 01:38:36,210 SEE THE OLDER ADULTS ACROSS THE 3027 01:38:36,277 --> 01:38:37,244 BOARD REPORTED MORE HAPPINESS 3028 01:38:37,311 --> 01:38:39,513 WHICH IS CONSISTENT WITH THIS 3029 01:38:39,580 --> 01:38:41,415 AGE-RELATED POSITIVITY EFFECT 3030 01:38:41,482 --> 01:38:42,483 BUT WHAT I REALLY WANT TO 3031 01:38:42,549 --> 01:38:43,851 HIGHLIGHT IS THIS EFFECTIVE 3032 01:38:43,917 --> 01:38:44,151 SADNESS. 3033 01:38:44,218 --> 01:38:47,488 SO YOU SEE THAT GREEN BUMP IN 3034 01:38:47,554 --> 01:38:49,356 SADNESS FROM BASELINE TO TIME .1 3035 01:38:49,423 --> 01:38:51,925 AND THAT IS FOR MEMORY-EVOKING 3036 01:38:51,992 --> 01:38:52,226 MUSIC ONLY. 3037 01:38:52,293 --> 01:38:55,763 SO WE SEE LISTENING TO THIS KIND 3038 01:38:55,829 --> 01:38:57,498 OF NEUTRAL GENERIC MUSIC IS NOT 3039 01:38:57,564 --> 01:38:59,433 INKREASING YOUR SADNESS, BUT 3040 01:38:59,500 --> 01:39:00,934 SOMETIMESLY ENING TO 3041 01:39:01,001 --> 01:39:01,835 MEMORY-EVOKING MUSIC IS. 3042 01:39:01,902 --> 01:39:03,504 THAT DOESN'T MEAN IT'S BAD OR 3043 01:39:03,570 --> 01:39:04,672 THAT SADNESS IS BAD, BUT IT'S 3044 01:39:04,738 --> 01:39:05,706 USEFUL TO KNOW THAT SOMETIMES 3045 01:39:05,773 --> 01:39:07,908 LISTENING TO THIS TYPE OF MUSIC 3046 01:39:07,975 --> 01:39:08,942 THAT'S PERSONALLY SIGNIFICANT 3047 01:39:09,009 --> 01:39:10,144 THAT'S ASSOCIATED WITH YOUR PAST 3048 01:39:10,210 --> 01:39:12,279 CAN BRING UP MORE MIXED QUALITY 3049 01:39:12,346 --> 01:39:13,981 EMOTIONS. 3050 01:39:14,048 --> 01:39:16,784 SO NOW TO JUMP INTO THE 3051 01:39:16,850 --> 01:39:17,651 ESTHETICS PART A LITTLE BIT. 3052 01:39:17,718 --> 01:39:18,719 MY FIRST QUESTION I TRIED TO GET 3053 01:39:18,786 --> 01:39:21,789 AT WHEN LOOKING AT MU SIX'S THIS 3054 01:39:21,855 --> 01:39:23,357 TICS IS HOW QUICKLY CAN WE TELL 3055 01:39:23,424 --> 01:39:24,692 WE'RE GOING TO LIKE A PIECE OF 3056 01:39:24,758 --> 01:39:25,225 MUSIC? 3057 01:39:25,292 --> 01:39:27,428 I'M STUDYING IN TERMS OF LIKING 3058 01:39:27,494 --> 01:39:28,062 AND ENJOYMENT OF MUSIC. 3059 01:39:28,128 --> 01:39:29,163 I'M THINKING WHEN YOU'RE IN THE 3060 01:39:29,229 --> 01:39:30,731 CAR, HOW DO YOU KNOW WHEN TO 3061 01:39:30,798 --> 01:39:32,199 FLIP TO THE NEXT RADIO STATION? 3062 01:39:32,266 --> 01:39:34,635 YOU'RE LIKE THAT'S NOT FOR ME, 3063 01:39:34,702 --> 01:39:37,204 NEXT, NEXT, NEXT. 3064 01:39:37,271 --> 01:39:38,806 SO ALSO RELATED TO WHEN WE'RE 3065 01:39:38,872 --> 01:39:40,007 DOING STUDIES IN MUSIC 3066 01:39:40,074 --> 01:39:41,208 COGNITION, WE WANT TO KNOW HOW 3067 01:39:41,275 --> 01:39:43,110 MUCH MUSIC DO WE HAVE TO PLAY TO 3068 01:39:43,177 --> 01:39:44,244 THE PERSON FOR TO HAVE AN 3069 01:39:44,311 --> 01:39:44,578 EFFECT? 3070 01:39:44,645 --> 01:39:45,879 SO I WANTED TO SEE WHAT'S THE 3071 01:39:45,946 --> 01:39:48,115 MINIMAL AMOUNT OF TIME TO KNOW 3072 01:39:48,182 --> 01:39:48,982 IF YOU'RE ULTIMATELY GOING TO 3073 01:39:49,049 --> 01:39:49,683 LIKE A PIECE. 3074 01:39:49,750 --> 01:39:51,185 SO I PLOTTED THE DATA RIGHT HERE 3075 01:39:51,251 --> 01:39:52,753 BUT JUST TO DESCRIBE THIS STUDY, 3076 01:39:52,820 --> 01:39:54,655 ON THE X AXIS ARE MILLISECONDS 3077 01:39:54,722 --> 01:39:56,790 SO WE PLAYED REALLY SHORT 3078 01:39:56,857 --> 01:39:58,092 SNIPPETS OF MUSIC STARTING AT 3079 01:39:58,158 --> 01:39:59,126 250 MILLISECONDS ALL THE WAY UP 3080 01:39:59,193 --> 01:39:59,893 TO TWO SECONDS. 3081 01:39:59,960 --> 01:40:01,795 AFTER EACH SNIPPET, WE ASKED THE 3082 01:40:01,862 --> 01:40:03,230 PARTICIPANTS RATE ON A 1 TO 3083 01:40:03,297 --> 01:40:03,897 10-POINT SCALE HOW MUCH DID YOU 3084 01:40:03,964 --> 01:40:04,331 LIKE THIS. 3085 01:40:04,398 --> 01:40:05,866 THEN WE HAD THEM LISTEN TO THE 3086 01:40:05,933 --> 01:40:07,134 FULL PIECE OF MUSIC, AND WE 3087 01:40:07,201 --> 01:40:09,303 WANTED TO SEE WHEN IN THESE 3088 01:40:09,370 --> 01:40:10,637 SHORT DURATIONS DID THEIR RATING 3089 01:40:10,704 --> 01:40:11,905 MATCH THE RATING OF THE FULL 3090 01:40:11,972 --> 01:40:12,139 PIECE. 3091 01:40:12,206 --> 01:40:13,540 SO IF THEY SAID THIS WHOLE PIECE 3092 01:40:13,607 --> 01:40:15,609 IS 8 OUT OF 10, AT WHAT POINT ON 3093 01:40:15,676 --> 01:40:17,378 THESE SHORTER DURATIONS DID THEY 3094 01:40:17,444 --> 01:40:18,345 GET TO AN 8? 3095 01:40:18,412 --> 01:40:20,514 SO PLOTTED ON THE Y AXIS IS THE 3096 01:40:20,581 --> 01:40:22,149 PERCENTAGE CORRECT, WHERE 3097 01:40:22,216 --> 01:40:23,183 CORRECT MEANS THEIR RATING 3098 01:40:23,250 --> 01:40:24,485 MATCHED THE RATING OF THE FINAL 3099 01:40:24,551 --> 01:40:25,285 PIECE. 3100 01:40:25,352 --> 01:40:28,122 WE USED THREE DIFFERENT GENRES, 3101 01:40:28,188 --> 01:40:32,126 AND FOR ALL BY 750 MILLISECONDS, 3102 01:40:32,192 --> 01:40:36,163 PEOPLE WERE AT ABOVE CHANCE 3103 01:40:36,230 --> 01:40:37,898 ACCURACY, THEY WERE ABLE TO TELL 3104 01:40:37,965 --> 01:40:40,134 YOU WITHIN 750 MILLISECONDS HOW 3105 01:40:40,200 --> 01:40:40,968 MUCH THEY WOULD ULTIMATELY LIKE 3106 01:40:41,034 --> 01:40:41,235 THE PIECE. 3107 01:40:41,301 --> 01:40:42,569 SO I'M GOING TO PLAY YOU A 3108 01:40:42,636 --> 01:40:43,237 SNIPPET THAT'S SHORT. 3109 01:40:43,303 --> 01:40:44,138 THAT'S VERY, VERY SHORT. 3110 01:40:44,204 --> 01:40:44,838 LESS THAN A SECOND. 3111 01:40:44,905 --> 01:40:46,240 SO PEOPLE ARE REALLY ACCURATE. 3112 01:40:46,306 --> 01:40:48,409 YOU KIND OF HAVE THIS GUT 3113 01:40:48,475 --> 01:40:49,276 DECISION OF IF YOU'RE GOING TO 3114 01:40:49,343 --> 01:40:50,878 LIKE A PIECE OR NOT, AND IT 3115 01:40:50,944 --> 01:40:51,979 TENDS TO BE VERY ACCURATE OVER 3116 01:40:52,045 --> 01:40:56,417 TIME. 3117 01:40:56,483 --> 01:40:57,017 THE CONTEXT IN WHICH YOU'RE 3118 01:40:57,084 --> 01:40:58,385 LISTENING TO MUSIC MATTERS. 3119 01:40:58,452 --> 01:40:59,987 SO WE DID THIS STUDY RECENTLY, 3120 01:41:00,053 --> 01:41:01,321 IT WAS VERY FUN, IT WAS IN A 3121 01:41:01,388 --> 01:41:02,489 LIVE CONCERT, WE HAD 3122 01:41:02,556 --> 01:41:04,591 PARTICIPANTS COME TO THE CONCERT 3123 01:41:04,658 --> 01:41:09,430 AND THEY RATED THEIR EMOTIONS 3124 01:41:09,496 --> 01:41:10,431 CONTINUOUSLY OVER THE COURSE OF 3125 01:41:10,497 --> 01:41:10,864 THE CONCERT. 3126 01:41:10,931 --> 01:41:12,933 WE USED A APP WHERE THEY WOULD 3127 01:41:13,000 --> 01:41:14,535 SPREAD THEIR FINGERS MORE TO 3128 01:41:14,601 --> 01:41:18,472 MEAN I'M LINI LIKING THIS MORE D 3129 01:41:18,539 --> 01:41:20,073 PINCHING THEM TO SAY I'M LIKING 3130 01:41:20,140 --> 01:41:20,607 THIS LESS. 3131 01:41:20,674 --> 01:41:22,443 WE WANTED TO SEE HOW THOSE 3132 01:41:22,509 --> 01:41:23,610 RATINGS COMPARED TO THE RATINGS 3133 01:41:23,677 --> 01:41:24,711 OF PEOPLE WHO CAME INTO THE LAB 3134 01:41:24,778 --> 01:41:25,679 AND WATCHED A RECORDING OF THE 3135 01:41:25,746 --> 01:41:26,246 CONCERT. 3136 01:41:26,313 --> 01:41:27,781 SO WE'RE COMPARING LIVE VERSUS 3137 01:41:27,848 --> 01:41:28,215 RECORDED. 3138 01:41:28,282 --> 01:41:30,584 AND SO WHAT I PLOTTED HERE ON 3139 01:41:30,651 --> 01:41:33,520 THIS GRAPH ON THE Y AXIS IS THE 3140 01:41:33,587 --> 01:41:34,955 ACTUAL VARIATION THE STANDARD 3141 01:41:35,022 --> 01:41:36,623 DEVIATION OF THOSE RATINGS. 3142 01:41:36,690 --> 01:41:37,958 THESE ARE VIOLIN PLOTS. 3143 01:41:38,025 --> 01:41:39,493 SO THE DOT INDICATES THE MEAN. 3144 01:41:39,560 --> 01:41:41,094 SO THE LAB GROUP IS ON THE LEFT, 3145 01:41:41,161 --> 01:41:43,864 AND THE LIVE GROUP IS ON THE 3146 01:41:43,931 --> 01:41:44,832 RIGHT. 3147 01:41:44,898 --> 01:41:45,766 WE CAN SEE WITH KIND OF THE 3148 01:41:45,833 --> 01:41:47,534 SPREAD OF THAT PLOT THAT THE 3149 01:41:47,601 --> 01:41:48,902 STANDARD DEVIATION OF THE 3150 01:41:48,969 --> 01:41:50,871 RATINGS IN THE LIVE SETTING WAS 3151 01:41:50,938 --> 01:41:53,407 GREATER THAN THE RATINGS OF IN 3152 01:41:53,474 --> 01:41:54,241 THE LAB SETTING. 3153 01:41:54,308 --> 01:41:55,142 SO PEOPLE IN THE LIVE SETTING 3154 01:41:55,209 --> 01:41:57,110 TENDED TO HAVE HIGHER HIGHS AND 3155 01:41:57,177 --> 01:41:59,279 LOWER LOWS, A GREATER SPREAD IN 3156 01:41:59,346 --> 01:42:00,447 THE RATINGS THAN THE PEOPLE WHO 3157 01:42:00,514 --> 01:42:01,215 WERE WATCHING IT IN THE LAB. 3158 01:42:01,281 --> 01:42:03,183 SO IT SEEMS TO BE THAT 3159 01:42:03,250 --> 01:42:04,885 EXPERIENCING MUSIC IN THIS LIVE 3160 01:42:04,952 --> 01:42:06,453 SETTING CAUSES A GREATER 3161 01:42:06,520 --> 01:42:08,856 FLUCTUATION IN THIS AESTHETIC 3162 01:42:08,922 --> 01:42:10,958 JUDGMENT OR EMOTIONAL JUDGMENT 3163 01:42:11,024 --> 01:42:11,625 OF THE MUSIC. 3164 01:42:11,692 --> 01:42:12,926 SO TO KIND OF SUMMARIZE THIS 3165 01:42:12,993 --> 01:42:16,029 WHIERL WIND OF MUSIC EMOTION AND 3166 01:42:16,096 --> 01:42:17,064 ESTHETICS, OUR WORK AND THE WORK 3167 01:42:17,130 --> 01:42:19,366 OF OTHERS HAVE FOUND THAT MUSIC 3168 01:42:19,433 --> 01:42:20,167 EVOKED AUTOBIOGRAPHICAL MEMORIES 3169 01:42:20,234 --> 01:42:23,470 TEND TO BE HIGHLY EPISODICALLY 3170 01:42:23,537 --> 01:42:24,638 DETAILED, HIGHLY EMOTIONAL, 3171 01:42:24,705 --> 01:42:26,740 HIGHLY VIVID, AND THAT THEY CAN 3172 01:42:26,807 --> 01:42:28,775 EVOKE THESE MIXED QUALITY 3173 01:42:28,842 --> 01:42:32,312 EMOTIONS, THAT OUR AESTHETIC 3174 01:42:32,379 --> 01:42:33,847 JUDGMENTS OF MUSIC CAN BE MADE 3175 01:42:33,914 --> 01:42:34,982 VERY QUICKLY AND ARE HIGHLY 3176 01:42:35,048 --> 01:42:36,950 ACCURATE, EVEN WHEN WE ONLY HEAR 3177 01:42:37,017 --> 01:42:38,785 A SNIPPET OF MUSIC, AND THE 3178 01:42:38,852 --> 01:42:40,721 CONTEXT OF WHICH WE'RE LISTENING 3179 01:42:40,787 --> 01:42:42,489 TO MUSIC CAN HAVE A REALLY BIG 3180 01:42:42,556 --> 01:42:43,690 INFLUENCE ON OUR JUDGMENTS OF 3181 01:42:43,757 --> 01:42:43,891 MUSIC. 3182 01:42:43,957 --> 01:42:44,825 SO WITH THAT I'D LIKE TO SAY 3183 01:42:44,892 --> 01:42:45,959 THANK YOU TO MY AWESOME STUDENTS 3184 01:42:46,026 --> 01:42:47,294 IN MY LAB, THANK YOU TO EVERYONE 3185 01:42:47,361 --> 01:42:48,929 FOR BEING HERE, FOR HAVING ME, 3186 01:42:48,996 --> 01:42:49,863 AND I'M REALLY LOOKING FORWARD 3187 01:42:49,930 --> 01:42:50,731 TO CHATTING MORE AND HEARING 3188 01:42:50,797 --> 01:42:51,899 ABOUT ALL THE AWESOME WORK 3189 01:42:51,965 --> 01:42:52,900 THAT'S GOING ON OVER THE NEXT 3190 01:42:52,966 --> 01:42:53,233 COUPLE DAYS. 3191 01:42:53,300 --> 01:43:03,477 [APPLAUSE] 3192 01:43:04,311 --> 01:43:06,146 >> HI, EVERYONE. 3193 01:43:06,213 --> 01:43:08,048 MY NAME IS EDDIE CHANG, I'M A 3194 01:43:08,115 --> 01:43:10,317 NEUROSURGEON AT UCSF. 3195 01:43:10,384 --> 01:43:12,719 MY LAB PRIMARILY FOCUSES ON THE 3196 01:43:12,786 --> 01:43:13,253 REPRESENTATION OF SPEECH. 3197 01:43:13,320 --> 01:43:14,421 WE RECENTLY GOT INTO MUSIC. 3198 01:43:14,488 --> 01:43:16,890 A LOT OF OUR WORK IS FUNDED BY 3199 01:43:16,957 --> 01:43:18,425 NIDCD, SO FIRST AND FOREMOST I 3200 01:43:18,492 --> 01:43:19,760 WANT TO THANK OUR FUNDING AGENCY 3201 01:43:19,826 --> 01:43:21,762 AT THE NIH FOR THAT. 3202 01:43:21,828 --> 01:43:23,997 THIS WORK THAT I'M GOING TO TALK 3203 01:43:24,064 --> 01:43:26,633 ABOUT IS REALLY SPEARHEADED BY A 3204 01:43:26,700 --> 01:43:29,770 VERY TALENTED POSTDOCTORAL 3205 01:43:29,836 --> 01:43:34,041 FELLOW WHO'S BEEN IN OUR LAB. 3206 01:43:34,107 --> 01:43:35,776 I SAID WE STUDY SPEECH, SO I HAD 3207 01:43:35,842 --> 01:43:37,277 HIM WORK ON WORDS FOR ABOUT A 3208 01:43:37,344 --> 01:43:37,811 YEAR AND A HALF. 3209 01:43:37,878 --> 01:43:39,880 BUT THEN I REALIZED IT WASN'T IN 3210 01:43:39,947 --> 01:43:41,882 HIS HEART AND WE STARTED TO 3211 01:43:41,949 --> 01:43:44,885 PIVOT AND QUEST WE STARTED BASIY 3212 01:43:44,952 --> 01:43:46,420 WORKING ON MUSIC. 3213 01:43:46,486 --> 01:43:47,854 A PARTICULAR TOPIC HERE IS 3214 01:43:47,921 --> 01:43:48,855 MELODY. 3215 01:43:48,922 --> 01:43:49,890 BASICALLY THE SUCCESSION OF 3216 01:43:49,957 --> 01:43:53,760 DIFFERENT PITCHES DEFINED BY 3217 01:43:53,827 --> 01:43:57,397 RHYTHMS. 3218 01:43:57,464 --> 01:43:59,499 SO THE SPECIFIC FUNCTIONS WE'RE 3219 01:43:59,566 --> 01:44:00,233 ASKING ABOUT, AND THINK ABOUT 3220 01:44:00,300 --> 01:44:02,469 THIS, HOW THIS MIGHT LOOK AS AN 3221 01:44:02,536 --> 01:44:02,769 EXPERIMENT. 3222 01:44:02,836 --> 01:44:04,438 IF YOU HAD ACCESS DIRECTLY TO 3223 01:44:04,504 --> 01:44:06,940 THE BRAIN ITSELF, SPECIFICALLY 3224 01:44:07,007 --> 01:44:08,208 THE TEMPORAL LOBE, WHERE WE DO A 3225 01:44:08,275 --> 01:44:13,380 LOT OF OUR SURGERIES AND YOU HAD 3226 01:44:13,447 --> 01:44:14,448 ELECTRODES PLANTED THERE, WHAT 3227 01:44:14,514 --> 01:44:15,616 WOULD THAT NEURAL CODE, THAT LEK 3228 01:44:15,682 --> 01:44:19,553 TALL ELECTRICAL CODE OF ACTIVITT 3229 01:44:19,620 --> 01:44:20,320 REPRESENTS SOUND, WHAT WOULD 3230 01:44:20,387 --> 01:44:21,822 THAT LOOK LIKE, WHAT WOULD THAT 3231 01:44:21,888 --> 01:44:23,256 TELL US ABOUT THE SOUND, HOW 3232 01:44:23,323 --> 01:44:23,890 DOES IT WORK? 3233 01:44:23,957 --> 01:44:24,992 THAT'S WHAT I'M GOING TO DISCUSS 3234 01:44:25,058 --> 01:44:26,927 FOR THE NEXT 8 MINUTES, IS 3235 01:44:26,994 --> 01:44:27,961 REALLY ABOUT THE NATURE OF THAT 3236 01:44:28,028 --> 01:44:29,329 CODE, WHERE IT IS AND WHAT IT'S 3237 01:44:29,396 --> 01:44:31,732 REPRESENTING. 3238 01:44:31,798 --> 01:44:35,335 ♪ 3239 01:44:35,402 --> 01:44:36,937 >> THAT'S AN EXAMPLE OF A 3240 01:44:37,004 --> 01:44:37,337 PARTICULAR MELODY. 3241 01:44:37,404 --> 01:44:38,805 SOME OF IT IS EXPECTED, SOME OF 3242 01:44:38,872 --> 01:44:39,706 IT IS A LITTLE BIT DIFFERENT 3243 01:44:39,773 --> 01:44:41,208 THAN WHAT WE WOULD EXPECT IN THE 3244 01:44:41,274 --> 01:44:42,943 NOTES, AND SHELLY GAVE AN 3245 01:44:43,010 --> 01:44:44,578 AMAZING EXAMPLE, PERFECT SETUP 3246 01:44:44,645 --> 01:44:46,647 FOR THIS, THAT OUR EXPECTATIONS 3247 01:44:46,713 --> 01:44:49,916 ARE VERY CRITICAL FOR HOW WE 3248 01:44:49,983 --> 01:44:53,086 CONTEXTUALIZE MELODY. 3249 01:44:53,153 --> 01:44:54,988 FIRST, BEAUTIFULLY DESCRIBED BY 3250 01:44:55,055 --> 01:44:56,556 MALINDA JUST A COUPLE MINUTES 3251 01:44:56,623 --> 01:44:58,225 AGO ABOUT THIS CONCEPT OF THE 3252 01:44:58,291 --> 01:44:59,926 INDIVIDUAL PITCH OF THE NOTES. 3253 01:44:59,993 --> 01:45:01,028 THAT'S THE STARTING POINT. 3254 01:45:01,094 --> 01:45:03,330 WE THINK ABOUT THESE INDIVIDUAL 3255 01:45:03,397 --> 01:45:05,766 ELEMENTS, AND THEN SECONDLY IS 3256 01:45:05,832 --> 01:45:07,668 THE CHANGE FROM ONE NOTE TO THE 3257 01:45:07,734 --> 01:45:08,669 NEXT. 3258 01:45:08,735 --> 01:45:09,870 THAT ONE INTERVAL FROM ONE NOTE 3259 01:45:09,936 --> 01:45:13,573 TO THE NEXT THAT -- WHAT WE CALL 3260 01:45:13,640 --> 01:45:16,209 PITCH CHANGE, WHICH IS MEASURED 3261 01:45:16,276 --> 01:45:17,377 BY SEMI TONES. 3262 01:45:17,444 --> 01:45:19,479 THERE'S A THIRD ASPECT TO THE 3263 01:45:19,546 --> 01:45:21,048 MELODY WHICH MAY BE THE MOST 3264 01:45:21,114 --> 01:45:24,484 IMPORTANT ACTUALLY, WHICH IS OUR 3265 01:45:24,551 --> 01:45:26,620 INTERNAL MODEL, THE STATISTICAL 3266 01:45:26,687 --> 01:45:27,821 MODEL, THE EXPECTATION THAT WE 3267 01:45:27,888 --> 01:45:29,790 HAVE OF ONE NOTE FOLLOWING THE 3268 01:45:29,856 --> 01:45:30,957 NEXT. 3269 01:45:31,024 --> 01:45:33,360 AND IN ORDER TO ESTIMATE THAT, 3270 01:45:33,427 --> 01:45:36,797 WE USED A COMPUTER ALGORITHM, 3271 01:45:36,863 --> 01:45:38,932 BASICALLY AN A.I., ARTIFICIAL 3272 01:45:38,999 --> 01:45:40,267 INTELLIGENCE ALGORITHM, TO LACK 3273 01:45:40,333 --> 01:45:42,469 OVER MILLIONS AND MILLIONS OF 3274 01:45:42,536 --> 01:45:45,405 EXAMPLES OF MUSIC TO BUILD A 3275 01:45:45,472 --> 01:45:49,443 STATISTICAL EXPECTATION MODEL OF 3276 01:45:49,509 --> 01:45:50,777 ONE PROBABILITY OF A NOTE 3277 01:45:50,844 --> 01:45:53,680 FOLLOWING THE NEXT. 3278 01:45:53,747 --> 01:45:54,648 THESE ARE VERY SPECIFIC TO 3279 01:45:54,715 --> 01:45:56,817 DIFFERENT TYPES AND GENERAL RES 3280 01:45:56,883 --> 01:45:58,552 OF MUSIC, ET CETERA, SO IT CAN 3281 01:45:58,618 --> 01:45:59,619 BE VERY SPECIFIC. 3282 01:45:59,686 --> 01:46:02,489 IN THIS PARTICULAR CASE, NARAYAN 3283 01:46:02,556 --> 01:46:05,959 USED ONE CALLED MELODY RNN TO 3284 01:46:06,026 --> 01:46:07,761 GENERATE THE TIME BY TIME 3285 01:46:07,828 --> 01:46:09,029 STATISTICAL PROBABILITY OF ONE 3286 01:46:09,096 --> 01:46:12,199 SOUND OCCURRING. 3287 01:46:12,265 --> 01:46:14,000 WE WERE VERY INTERESTED TO 3288 01:46:14,067 --> 01:46:16,670 UNDERSTAND HOW IS OUR BRAIN 3289 01:46:16,737 --> 01:46:18,405 PROCESSING I THAT STATISTICAL 3290 01:46:18,472 --> 01:46:20,373 PROPERTY, THAT EXPECTATION VALUE 3291 01:46:20,440 --> 01:46:22,542 OF ONE SOUND FOLLOWED BY THE 3292 01:46:22,609 --> 01:46:26,313 NEXT. 3293 01:46:26,379 --> 01:46:28,115 SO AS ANNE ALLUDED TO EARLIER, 3294 01:46:28,181 --> 01:46:29,583 IF YOU LOOKED AT THE LEFT 3295 01:46:29,649 --> 01:46:32,085 TEMPORAL LOBE AND RIGHT TEMPORAL 3296 01:46:32,152 --> 01:46:33,153 LOBE, THE PART OF THE BRAIN 3297 01:46:33,220 --> 01:46:34,554 THAT'S RIGHT ABOVE OUR EARS, YOU 3298 01:46:34,621 --> 01:46:36,890 CAN SEE THAT WE SEE VERY CLEAR 3299 01:46:36,957 --> 01:46:39,559 AND STRONG RESPONSES IN BOTH 3300 01:46:39,626 --> 01:46:41,128 SIDES OF THE LEFT AND THE RIGHT, 3301 01:46:41,194 --> 01:46:43,430 AND THESE WERE PARTICIPANT WHO 3302 01:46:43,497 --> 01:46:44,831 WERE SURGICAL PATIENTS WHO WERE 3303 01:46:44,898 --> 01:46:45,632 UNDERGOING EPILEPSY SURGERY 3304 01:46:45,699 --> 01:46:47,701 WHERE WE HAD IMPLANTED 3305 01:46:47,768 --> 01:46:48,902 ELECTRODES ON THE BRAIN IN ORDER 3306 01:46:48,969 --> 01:46:50,837 TO LOCALIZE THE SEIZURE. 3307 01:46:50,904 --> 01:46:52,372 SO THIS IS EXACTLY WHAT WE DID. 3308 01:46:52,439 --> 01:46:54,107 WE HAD ELECTRODES RIGHT THERE, 3309 01:46:54,174 --> 01:46:55,509 EAVESDROPPING ON THAT ELECTRICAL 3310 01:46:55,575 --> 01:46:57,043 ACTIVITY AS PEOPLE WERE 3311 01:46:57,110 --> 01:46:59,880 LISTENING TO MUSIC. 3312 01:46:59,946 --> 01:47:02,482 YOU CAN SEE IT HAPPENS BUY ALL 3313 01:47:02,549 --> 01:47:09,589 RBILATEBILATERALLY. 3314 01:47:09,656 --> 01:47:10,791 ANOTHER THING YOU CAN SEE HERE 3315 01:47:10,857 --> 01:47:11,658 IS IT'S DISTRIBUTED. 3316 01:47:11,725 --> 01:47:12,526 WHAT'S QUITE INTERESTING TO ME 3317 01:47:12,592 --> 01:47:13,760 IS THE POPULATIONS THAT WE SAW 3318 01:47:13,827 --> 01:47:15,796 THAT WERE PROCESSING MUSIC WERE 3319 01:47:15,862 --> 01:47:17,164 VERY MUCH OVERLAPPING WITH THE 3320 01:47:17,230 --> 01:47:18,999 AREAS THAT ARE PROCESSING THE 3321 01:47:19,065 --> 01:47:20,000 WORDS ACTUALLY. 3322 01:47:20,066 --> 01:47:20,934 SPEECH. 3323 01:47:21,001 --> 01:47:23,203 AND I'M GOING TO GET INTO THAT A 3324 01:47:23,270 --> 01:47:23,870 LITTLE BIT, BECAUSE IT'S NOT 3325 01:47:23,937 --> 01:47:25,138 EXACTLY THE SAME. 3326 01:47:25,205 --> 01:47:25,806 THEY'RE IN THE SAME GENERAL AREA 3327 01:47:25,872 --> 01:47:27,908 BUT THERE ARE SPECIALIZATIONS 3328 01:47:27,974 --> 01:47:29,876 FOR MUSIC THAT OCCUR. 3329 01:47:29,943 --> 01:47:35,849 WHAT YOU'RE LOOKING AT HERE SO 3330 01:47:35,916 --> 01:47:36,950 HOW THOSE THREE PARAMETERS, 3331 01:47:37,017 --> 01:47:39,586 THREE VARIABLES, PITCH, PITCH 3332 01:47:39,653 --> 01:47:42,422 CHANGE AND EXPECTATION, VERY 3333 01:47:42,489 --> 01:47:46,793 INDEPENDVARYINDEPENDENTLY, SO EF 3334 01:47:46,860 --> 01:47:49,596 PLOTS CORRESPONDS TO AN 3335 01:47:49,663 --> 01:47:52,399 ELECTRODE TUNED TO PITCH, THE 3336 01:47:52,465 --> 01:47:53,934 PARAMETER OF PITCH, EACH SET OF 3337 01:47:54,000 --> 01:47:56,136 ROWS CORRESPONDS TO A DIFFERENT 3338 01:47:56,203 --> 01:47:56,503 ELECTRODE. 3339 01:47:56,570 --> 01:47:58,205 SO THAT FIRST ROW IS AN EXAMPLE 3340 01:47:58,271 --> 01:47:59,506 OF AN ELECTRODE THAT'S VERY 3341 01:47:59,573 --> 01:48:04,411 TUNED TO THE ABSOLUTE PITCH OF A 3342 01:48:04,477 --> 01:48:05,946 GIVEN NOTE, THE SECOND ROW SHOWS 3343 01:48:06,012 --> 01:48:07,914 AN ELECTRODE THAT IS TUNED TO 3344 01:48:07,981 --> 01:48:09,850 PITCH CHANGE, AND THE THIRD ROW 3345 01:48:09,916 --> 01:48:11,484 IS ACTUALLY AN ELECTRODE THAT 3346 01:48:11,551 --> 01:48:12,853 DOESN'T HAVE MUCH SELECTIVE 3347 01:48:12,919 --> 01:48:14,254 TUNING TO PITCH OR PITCH CHANGE 3348 01:48:14,321 --> 01:48:17,958 BUT PITCH EXPECTATION. 3349 01:48:18,024 --> 01:48:19,192 SO THE POINT OF THIS FIGURE IS 3350 01:48:19,259 --> 01:48:21,328 THAT YOU COULD HAVE THREE 3351 01:48:21,394 --> 01:48:23,296 SENSORS ON YOUR TEMPORAL LOBE 3352 01:48:23,363 --> 01:48:25,365 RIGHT NEXT TO EACH OTHER, JUST 3353 01:48:25,432 --> 01:48:25,932 MILLIMETERS APART. 3354 01:48:25,999 --> 01:48:27,467 ONE IS PROCESSING THE ABSOLUTE 3355 01:48:27,534 --> 01:48:28,935 PITCH, THE SECOND IS PROCESSING 3356 01:48:29,002 --> 01:48:29,569 THE SECOND ORDER FUNCTION WHICH 3357 01:48:29,636 --> 01:48:32,205 IS THE CHANGE IN THE PITCH FROM 3358 01:48:32,272 --> 01:48:33,807 ONE NOTE TO THE NOTE, AND THEN 3359 01:48:33,874 --> 01:48:34,808 YOU'VE GOT ANOTHER SPOT RIGHT 3360 01:48:34,875 --> 01:48:37,444 NEXT TO THAT, THAT IS PROCESSING 3361 01:48:37,510 --> 01:48:38,778 THE EXPECTATION OF WHAT IS THE 3362 01:48:38,845 --> 01:48:39,946 FOLLOWING NOTE. 3363 01:48:40,013 --> 01:48:41,581 ALL HAPPENING IN THE SAME PART 3364 01:48:41,648 --> 01:48:49,589 OF THE AUDITORY CORTEX. 3365 01:48:49,656 --> 01:48:55,862 Y.TO LOOK AT THE INTERSECTION 3366 01:48:55,929 --> 01:48:57,163 BETWEEN SPEECH AND MUSIC, AND 3367 01:48:57,230 --> 01:48:59,065 REALLY ASK THIS QUESTION ABOUT 3368 01:48:59,132 --> 01:49:00,600 THIS INTERSECTION BETWEEN WHAT'S 3369 01:49:00,667 --> 01:49:02,202 PROCESSING THE SOUNDS OF WORDS 3370 01:49:02,269 --> 01:49:04,571 AND THE SOUNDS OF A MELODY. 3371 01:49:04,638 --> 01:49:05,972 AND WHAT WE'VE FOUND WAS THAT IF 3372 01:49:06,039 --> 01:49:09,109 YOU LOOKED AT THE SENSITIVITY OF 3373 01:49:09,175 --> 01:49:13,146 THESE ELECTRODE, SOME WERE 3374 01:49:13,213 --> 01:49:13,647 EXTREMELY SENSITIVE AND 3375 01:49:13,713 --> 01:49:14,247 SELECTIVE TO SPEECH. 3376 01:49:14,314 --> 01:49:16,216 THOSE ARE THE RED COLORED 3377 01:49:16,283 --> 01:49:17,417 ELECTRODES THAT WERE DOWN ON THE 3378 01:49:17,484 --> 01:49:18,418 BOTTOM. 3379 01:49:18,485 --> 01:49:20,053 THE SELECTIVITY METRIC ALSO 3380 01:49:20,120 --> 01:49:21,855 SHOWED US THAT THERE WAS A 3381 01:49:21,922 --> 01:49:23,089 SUBPOPULATION THERE THAT WAS 3382 01:49:23,156 --> 01:49:26,693 SELECTIVE TO MUSIC. 3383 01:49:26,760 --> 01:49:29,763 SO WORK FROM OUR COLLEAGUES IN 3384 01:49:29,829 --> 01:49:31,031 MCDERMOTT LAB HAVE SHOWN THAT 3385 01:49:31,097 --> 01:49:32,265 THERE ARE SELECTIVE RESPONSES IN 3386 01:49:32,332 --> 01:49:34,634 THIS HUMAN PART OF THE AUDITORY 3387 01:49:34,701 --> 01:49:34,868 CORTEX. 3388 01:49:34,935 --> 01:49:36,703 AND THEN WE TRIED TO SEE, WELL, 3389 01:49:36,770 --> 01:49:39,272 IS THERE A MUSIC AREA? 3390 01:49:39,339 --> 01:49:41,308 AND DAN DESCRIBED THIS EARLIER. 3391 01:49:41,374 --> 01:49:42,409 OUR THINKING ABOUT THIS HAS 3392 01:49:42,475 --> 01:49:42,809 CHANGED A LOT. 3393 01:49:42,876 --> 01:49:44,577 WE USED TO THINK THAT THERE WAS 3394 01:49:44,644 --> 01:49:46,446 ACTUALLY THIS ONE CHUNK THAT WAS 3395 01:49:46,513 --> 01:49:47,414 PURELY DEDICATED FOR THIS 3396 01:49:47,480 --> 01:49:48,715 FUNCTION OF MUSIC, BUT WHAT WE 3397 01:49:48,782 --> 01:49:52,752 FOUND WAS THAT THERE'S REALLY 3398 01:49:52,819 --> 01:49:53,753 SUBPARTS, LITTLE BITS OF THE 3399 01:49:53,820 --> 01:49:55,922 AUDITORY CORTEX THAT ARE HIGHLY, 3400 01:49:55,989 --> 01:49:57,457 HIGHLY SELECTIVE TO MUSIC. 3401 01:49:57,524 --> 01:49:59,526 THOSE ARE THE ONES THAT ARE BLUE 3402 01:49:59,592 --> 01:49:59,893 THERE. 3403 01:49:59,960 --> 01:50:01,127 AND THE ONES THAT ARE 3404 01:50:01,194 --> 01:50:01,928 SURROUNDING THEM ARE THE ONES 3405 01:50:01,995 --> 01:50:03,129 THAT ARE PROCESSING SPEECH 3406 01:50:03,196 --> 01:50:04,097 INFORMATION. 3407 01:50:04,164 --> 01:50:08,702 SO THERE'S A SUBSET, AND THEY'RE 3408 01:50:08,768 --> 01:50:10,303 INTERDIGITATED AND ALMOST 3409 01:50:10,370 --> 01:50:11,404 RANDOMLY DIGITATED WITH THESE 3410 01:50:11,471 --> 01:50:12,739 OTHER PARTS OF THE AUDITORY 3411 01:50:12,806 --> 01:50:14,274 COMPLEX, BUT IT'S NOT LIKE A 3412 01:50:14,341 --> 01:50:16,409 GENERAL MUSIC AREA. 3413 01:50:16,476 --> 01:50:17,711 THAT WE COULD SEPARATE AND 3414 01:50:17,777 --> 01:50:20,647 DEFINE. 3415 01:50:20,714 --> 01:50:23,049 A THIRD RESULT HERE IS THAT 3416 01:50:23,116 --> 01:50:24,584 THESE ELECTRODES THAT WE WERE -- 3417 01:50:24,651 --> 01:50:25,852 THAT WE FOUND THAT WERE 3418 01:50:25,919 --> 01:50:28,288 SELECTIVE TO MUSIC ONLY, MEANING 3419 01:50:28,355 --> 01:50:29,956 THAT WHEN PEOPLE WERE HEARING 3420 01:50:30,023 --> 01:50:32,559 SPEECH, THERE WAS NO ACTIVITY, 3421 01:50:32,625 --> 01:50:35,095 BUT THESE TINY SPOTS WHERE THEY 3422 01:50:35,161 --> 01:50:37,364 WERE RE -- WERE WHERE THEY WERE 3423 01:50:37,430 --> 01:50:37,998 RESPONSIVE TO MUSIC. 3424 01:50:38,064 --> 01:50:39,099 IT TURNS OUT THAT THOSE WERE THE 3425 01:50:39,165 --> 01:50:42,469 ONES THAT WERE TUNED TO MUSIC 3426 01:50:42,535 --> 01:50:45,071 EXPECTATION, OR MELODIC 3427 01:50:45,138 --> 01:50:46,206 EXPECTATIONS, AND THEY WERE NOT 3428 01:50:46,272 --> 01:50:47,173 TUNED SPECIFICALLY TO THE PITCH 3429 01:50:47,240 --> 01:50:49,876 OR THE PITCH CHANGE. 3430 01:50:49,943 --> 01:50:51,644 SO ONE OF THE FINDINGS HERE WAS 3431 01:50:51,711 --> 01:50:54,047 THAT THIS PARAMETER, THIS 3432 01:50:54,114 --> 01:50:55,081 STATISTICAL MODEL THAT WE ALL 3433 01:50:55,148 --> 01:50:57,550 HAVE WITH US ABOUT MUSIC, ABOUT 3434 01:50:57,617 --> 01:50:59,085 THE LIKELIHOOD OF ONE NOTE 3435 01:50:59,152 --> 01:51:01,488 FOLLOWING THE NEXT, IS HIGHLY 3436 01:51:01,554 --> 01:51:04,424 SPECIFIC TO MUSIC, AND THESE 3437 01:51:04,491 --> 01:51:05,825 SPECIFIC SPOTS IN OUR BRAIN ARE 3438 01:51:05,892 --> 01:51:06,926 HIGHLY TUNED TO THAT 3439 01:51:06,993 --> 01:51:08,161 PROBABILITY. 3440 01:51:08,228 --> 01:51:09,329 SO YOU DON'T HAVE TO GO AS FAR 3441 01:51:09,396 --> 01:51:10,663 AS THE FRONTAL LOBE ACTUALLY TO 3442 01:51:10,730 --> 01:51:11,064 SEE THIS. 3443 01:51:11,131 --> 01:51:14,034 WE DO SEE IT IN THE TEMPORAL 3444 01:51:14,100 --> 01:51:16,036 LOBE QUITE CLEARLY. 3445 01:51:16,102 --> 01:51:19,172 NOW, NARAYAN DID THIS CONTROL 3446 01:51:19,239 --> 01:51:20,473 EXPERIMENT, HE SAID THAT'S COOL, 3447 01:51:20,540 --> 01:51:23,109 YOU SEE THESE AREAS THAT RESPOND 3448 01:51:23,176 --> 01:51:25,812 EXCLUSIVELY TO MUSIC AND NOT TO 3449 01:51:25,879 --> 01:51:26,846 SPEECH. 3450 01:51:26,913 --> 01:51:29,549 CAN WE SOMEHOW MAKE THEM 3451 01:51:29,616 --> 01:51:33,153 ACTIVATED BY MELODIZING OR 3452 01:51:33,219 --> 01:51:38,625 MAKING THE SPEECH ME MELODIC? 3453 01:51:38,691 --> 01:51:41,561 SO HE CREATED IT STARTING WITH 3454 01:51:41,628 --> 01:51:41,795 SPEECH. 3455 01:51:41,861 --> 01:51:43,463 >> THIS IS A SLEEPING CAPSULE. 3456 01:51:43,530 --> 01:51:45,065 >> NO TEMPTATION, NO VIRTUE. 3457 01:51:45,131 --> 01:51:46,433 >> MAYBE IT WOULD WORK THE OTHER 3458 01:51:46,499 --> 01:51:46,599 WAY. 3459 01:51:46,666 --> 01:51:48,134 >> AND THEN HE DID SOMETHING 3460 01:51:48,201 --> 01:51:48,435 CLEVER. 3461 01:51:48,501 --> 01:51:50,303 QUITE CLEVER. 3462 01:51:50,370 --> 01:51:55,575 HE TOOK THE SPEECH PITCH CONT 3463 01:51:55,642 --> 01:51:56,543 CONTOUR, AND THEN HE TURNED IT 3464 01:51:56,609 --> 01:51:58,511 INTO A MUSICAL REGISTER. 3465 01:51:58,578 --> 01:52:01,581 OKAY, SO HE SHIFTED THE SAME 3466 01:52:01,648 --> 01:52:02,315 FREQUENCY INFORMATION, BUT THEN 3467 01:52:02,382 --> 01:52:04,284 HE JUST MOVED IT INTO THE 3468 01:52:04,350 --> 01:52:05,485 MUSICAL NOTES. 3469 01:52:05,552 --> 01:52:07,787 AND BY DOING THAT, HE TURNED IT 3470 01:52:07,854 --> 01:52:11,324 INTO MUSICAL SPEECH. 3471 01:52:11,391 --> 01:52:14,194 ♪ THIS IS A SLEEPING CAPSULE ♪ 3472 01:52:14,260 --> 01:52:17,230 ♪ NO TEMPTATION, NO VIRTUE ♪ 3473 01:52:17,297 --> 01:52:20,133 ♪ MAYBE IT WOULD WORK THE OTHER 3474 01:52:20,200 --> 01:52:20,333 WAY ♪ 3475 01:52:20,400 --> 01:52:21,835 >> AND WHAT WAS QUITE INCREDIBLE 3476 01:52:21,901 --> 01:52:24,971 IS WHEN YOU LOOK AT THOSE 3477 01:52:25,038 --> 01:52:26,439 ELECTRODES AS AN EXAMPLE OF THAT 3478 01:52:26,506 --> 01:52:27,707 FIRING ACTIVITY FROM ONE OF 3479 01:52:27,774 --> 01:52:29,075 THOSE SITES THAT ARE VERY, VERY 3480 01:52:29,142 --> 01:52:30,343 SELECTIVE TO MUSIC, YOU CAN SEE 3481 01:52:30,410 --> 01:52:32,245 THE RESPONSE IN BLUE. 3482 01:52:32,312 --> 01:52:34,581 AND THEN THE RESPONSE IN SPEECH 3483 01:52:34,647 --> 01:52:35,815 IS FLAT. 3484 01:52:35,882 --> 01:52:37,217 THAT'S AN EXAMPLE OF AN 3485 01:52:37,283 --> 01:52:38,918 ELECTRODE THAT'S REALLY TUNED TO 3486 01:52:38,985 --> 01:52:40,386 MUSICAL SOUNDS AND SELECTIVE TO 3487 01:52:40,453 --> 01:52:40,854 MUSIC. 3488 01:52:40,920 --> 01:52:42,856 WHEN IT HEARS THE MELODIC 3489 01:52:42,922 --> 01:52:44,023 SPEECH, IT COMES ALIVE. 3490 01:52:44,090 --> 01:52:49,195 SO THAT MUSIC EXPECTATION, THAT 3491 01:52:49,262 --> 01:52:50,063 MELODIFICATION CAN ACTUALLY 3492 01:52:50,130 --> 01:52:53,266 CHANGE THE TUNING OF THOSE EE 3493 01:52:53,333 --> 01:52:54,534 ELECTRODES BASED ON THAT 3494 01:52:54,601 --> 01:52:55,835 CONTEXT, AND THIS IS A REALLY 3495 01:52:55,902 --> 01:52:58,771 IMPORTANT CONTROL EXPERIMENT. 3496 01:52:58,838 --> 01:53:04,244 SO THE LAST POINT IS THAT WE 3497 01:53:04,310 --> 01:53:07,347 LOOKED AT THOSE OTHER 3498 01:53:07,413 --> 01:53:08,414 ELECTRODES, ONES TUNED TO PITCH 3499 01:53:08,481 --> 01:53:10,950 AND PITCH CHANGE, NOT THE 3500 01:53:11,017 --> 01:53:11,885 EXPECTATION ELECTRODES BUT THE 3501 01:53:11,951 --> 01:53:12,752 ONES THAT WERE TUNED TO PITCH 3502 01:53:12,819 --> 01:53:15,388 AND PITCH CHANGE, AND WHAT 3503 01:53:15,455 --> 01:53:17,390 NARAYAN DISCOVERED WAS THAT IF 3504 01:53:17,457 --> 01:53:19,759 YOU LOOK AT THE Y AXIS, WHICH IS 3505 01:53:19,826 --> 01:53:21,227 PLOTTING SPEECH RESPONSE VERSUS 3506 01:53:21,294 --> 01:53:23,329 THE Y AXIS -- I MEAN THE X AXIS 3507 01:53:23,396 --> 01:53:24,697 WHICH IS PLOTTING MUSIC AND THE 3508 01:53:24,764 --> 01:53:29,035 Y WHICH IS SPEECH, BECAUSE THIS 3509 01:53:29,102 --> 01:53:30,036 DATA FALLS ALONG THE DIAGONAL, 3510 01:53:30,103 --> 01:53:32,805 IT MEANS THAT IT'S RESPONSIVE TO 3511 01:53:32,872 --> 01:53:35,074 THE PITCH AND THE PITCH CHANGE 3512 01:53:35,141 --> 01:53:37,177 OF BOTH SPEECH AND MUSIC. 3513 01:53:37,243 --> 01:53:40,747 SO THESE ELECTRODE SITES THAT 3514 01:53:40,813 --> 01:53:41,814 ARE PROCESSING THE ABC LAWT 3515 01:53:41,881 --> 01:53:46,219 PITCABSOLUTEPITCH AND PITCH CHAE 3516 01:53:46,286 --> 01:53:47,587 SHARED IN OUR BRAIN FOR 3517 01:53:47,654 --> 01:53:49,289 PROCESSING BOTH MUSIC AND 3518 01:53:49,355 --> 01:53:49,589 SPEECH. 3519 01:53:49,656 --> 01:53:52,992 AND THE WILL E THE EARLIER STUFD 3520 01:53:53,059 --> 01:53:54,494 YOU IS TUNED TO EXPECTATION 3521 01:53:54,561 --> 01:53:55,495 THAT'S VERY, VERY SELECTIVE TO 3522 01:53:55,562 --> 01:53:58,998 MUSIC AND NOT T TO SPEECH. 3523 01:53:59,065 --> 01:54:01,201 SO OUR UNDERSTANDING OF HOW 3524 01:54:01,267 --> 01:54:02,735 MELODY IS BEING PROCESSED IN THE 3525 01:54:02,802 --> 01:54:04,137 TEMPORAL LOBE IS RAPIDLY 3526 01:54:04,204 --> 01:54:04,571 CHANGING. 3527 01:54:04,637 --> 01:54:07,974 THIS IS JUST ONE NEW EXPERIMENT 3528 01:54:08,041 --> 01:54:10,710 IN A HUGE LITERATURE, A DEEP 3529 01:54:10,777 --> 01:54:12,345 LITERATURE ON HOW PITCH AND 3530 01:54:12,412 --> 01:54:14,747 MUSIC ARE PROCESSED. 3531 01:54:14,814 --> 01:54:15,815 OUR CONTRIBUTION, UNIQUE 3532 01:54:15,882 --> 01:54:17,016 CONTRIBUTION HERE IS TRYING TO 3533 01:54:17,083 --> 01:54:21,754 DISSECT THIS AT A REALLY 3534 01:54:21,821 --> 01:54:22,622 DETAILED LEVEL, DOWN TO THE 3535 01:54:22,689 --> 01:54:24,357 LEVEL OF MILLIMETERS AND 3536 01:54:24,424 --> 01:54:25,558 MILLISECONDS, TRYING TO 3537 01:54:25,625 --> 01:54:26,759 UNDERSTAND THAT THERE IS, IN 3538 01:54:26,826 --> 01:54:28,228 FACT, A MAP IN THIS PART OF OUR 3539 01:54:28,294 --> 01:54:29,929 BRAIN CALLED THE TEMPORAL LOBE. 3540 01:54:29,996 --> 01:54:31,197 DIFFERENT LOCATIONS ARE ENCODING 3541 01:54:31,264 --> 01:54:34,867 THINGS LIKE PITCH, PITCH CHANGE, 3542 01:54:34,934 --> 01:54:37,503 AND EVEN THE EXPECTATION OF THE 3543 01:54:37,570 --> 01:54:39,672 SUBSEQUENT NOTE THAT WE CALL 3544 01:54:39,739 --> 01:54:40,240 EXPECTATION VARIABLE. 3545 01:54:40,306 --> 01:54:42,108 AND THESE ARE ALL INTERDIGITATED 3546 01:54:42,175 --> 01:54:42,842 IN THE SAME PART OF THE BRAIN 3547 01:54:42,909 --> 01:54:46,346 THAT WE CALL THE TEMPORAL LOBE. 3548 01:54:46,412 --> 01:54:49,249 THE SECOND POINT IS THAT 3549 01:54:49,315 --> 01:54:50,383 EXPECTATION IS SOMETHING 3550 01:54:50,450 --> 01:54:50,617 LEARNED. 3551 01:54:50,683 --> 01:54:52,585 IT'S SOMETHING THAT IS ACQUIRED 3552 01:54:52,652 --> 01:54:54,754 THROUGH OUR EXPOSURE TO MUSIC, 3553 01:54:54,821 --> 01:54:57,624 IT'S SOMETHING THAT, JUST LIKE 3554 01:54:57,690 --> 01:54:59,392 LANGUAGE, BECOMES SPECIALIZED IN 3555 01:54:59,459 --> 01:55:01,361 OUR BRAIN, AND IT'S NOT THAT THE 3556 01:55:01,427 --> 01:55:03,062 ENTIRE PART OF THAT BRAIN 3557 01:55:03,129 --> 01:55:04,931 BECOMES SPECIALIZED, BUT VERY 3558 01:55:04,998 --> 01:55:08,434 SPECIFIC SUBPARTS OF IT LEARN TO 3559 01:55:08,501 --> 01:55:10,570 APPRECIATE THE PROBABILITIES OF 3560 01:55:10,637 --> 01:55:11,704 ONE NOTE FOLLOWING THE NEXT, 3561 01:55:11,771 --> 01:55:13,573 WHICH IS SOMETHING THAT WE HEARD 3562 01:55:13,640 --> 01:55:16,476 QUITE BEAUTIFULLY AN HOUR AGO. 3563 01:55:16,542 --> 01:55:18,177 SO THE CONTRAST TO THAT IS THAT 3564 01:55:18,244 --> 01:55:20,680 PITCH AND PITCH CHANGE ARE 3565 01:55:20,747 --> 01:55:21,981 GENERAL PROCESSORS, THAT WE'RE 3566 01:55:22,048 --> 01:55:24,450 USING THEM BOTH FOR SPEECH AND 3567 01:55:24,517 --> 01:55:24,651 MUSIC. 3568 01:55:24,717 --> 01:55:26,252 SO THAT'S HOW WE'RE STARTING TO 3569 01:55:26,319 --> 01:55:28,354 DIG DEEPER TO UNDERSTAND HOW 3570 01:55:28,421 --> 01:55:32,025 THIS ONE AUDITORY PROCESSOR IN 3571 01:55:32,091 --> 01:55:32,992 OUR BRAIN IN THE TEMPORAL LOBE 3572 01:55:33,059 --> 01:55:34,427 IS PROCESSING BOTH OF THESE 3573 01:55:34,494 --> 01:55:36,262 REALLY INCREDIBLE HUMAN-SPECIFIC 3574 01:55:36,329 --> 01:55:36,696 BEHAVIORS. 3575 01:55:36,763 --> 01:55:37,163 THANK YOU VERY MUCH. 3576 01:55:37,230 --> 01:55:47,407 [APPLAUSE] 3577 01:55:49,442 --> 01:55:50,176 >> OKAY. 3578 01:55:50,243 --> 01:55:52,045 WE'VE HEARD SOME WONDERFUL 3579 01:55:52,111 --> 01:55:52,345 TALKS. 3580 01:55:52,412 --> 01:55:55,848 WE'RE GOING TO NOW MOVE TO OUR 3581 01:55:55,915 --> 01:55:56,616 PANEL DISCUSSION. 3582 01:55:56,683 --> 01:55:57,684 EACH ONE OF THE PANELISTS IS 3583 01:55:57,750 --> 01:56:00,053 GOING TO MAKE SOME REMARKS, 3584 01:56:00,119 --> 01:56:01,154 TWO-MINUTE REMARKS, AND THEN 3585 01:56:01,220 --> 01:56:02,555 THERE WILL BE -- WHAT FOLLOWS 3586 01:56:02,622 --> 01:56:05,692 WILL BE A GENERAL DISCUSSION. 3587 01:56:05,758 --> 01:56:08,528 OUR PANELISTS INCLUDE VICTOR 3588 01:56:08,594 --> 01:56:10,997 WOOTEN, FROM BELA FLECK AND THE 3589 01:56:11,064 --> 01:56:12,098 FLECKTONES. 3590 01:56:12,165 --> 01:56:13,700 ELIZABETH MARGULIS FROM 3591 01:56:13,766 --> 01:56:15,068 PRINCETON UNIVERSITY. 3592 01:56:15,134 --> 01:56:17,837 PETR JANATA FROM THE UNIVERSITY 3593 01:56:17,904 --> 01:56:19,138 OF CALIFORNIA AT DAVIS, FRANK 3594 01:56:19,205 --> 01:56:21,941 RUSSO FROM TORONTO METROPOLITAN 3595 01:56:22,008 --> 01:56:24,544 UNIVERSITY, TONYA BERGESON, FROM 3596 01:56:24,610 --> 01:56:25,978 BUTLER UNIVERSITY AND INDIANA 3597 01:56:26,045 --> 01:56:28,181 UNIVERSITY SCHOOL OF MEDICINE, 3598 01:56:28,247 --> 01:56:32,185 AND FINALLY, VERN FALBY, FROM 3599 01:56:32,251 --> 01:56:33,720 JOHNS HOPKINS UNIVERSITY PEABODY 3600 01:56:33,786 --> 01:56:36,789 CONSERVATORY OF MUSIC. 3601 01:56:36,856 --> 01:56:39,092 PLEASE JOIN ME AT THE 3602 01:56:39,158 --> 01:56:39,392 DISCUSSION. 3603 01:56:39,459 --> 01:56:49,635 [APPLAUSE] 3604 01:56:52,905 --> 01:56:57,744 >> OKAY. 3605 01:56:57,810 --> 01:57:01,080 WEAR GOINWE'RE GOING TO BEGIN WH 3606 01:57:01,147 --> 01:57:03,316 VICTOR'S REMARKS. 3607 01:57:03,383 --> 01:57:05,051 >> HELLO. 3608 01:57:05,118 --> 01:57:06,018 THANKS FOR ALLOWING ME TO BE 3609 01:57:06,085 --> 01:57:06,352 HERE. 3610 01:57:06,419 --> 01:57:07,854 THIS IS AMAZING. 3611 01:57:07,920 --> 01:57:09,522 REALLY QUICKLY, I JUST WANT TO 3612 01:57:09,589 --> 01:57:11,257 POSE A THOUGHT TO YOU. 3613 01:57:11,324 --> 01:57:12,992 NO TRUTH, NO FICTION, WHATEVER, 3614 01:57:13,059 --> 01:57:14,293 IT'S ALL OF THE ABOVE. 3615 01:57:14,360 --> 01:57:15,928 JUST IMAGINE IF SOMEONE WAS 3616 01:57:15,995 --> 01:57:18,998 DOING A STUDY ON YOU. 3617 01:57:19,065 --> 01:57:21,200 MAYBE THEY WERE TEACHING YOU IN 3618 01:57:21,267 --> 01:57:22,168 SCHOOLS, THERE WERE BOOKS 3619 01:57:22,235 --> 01:57:23,803 WRITTEN ABOUT YOU, BUT NO ONE 3620 01:57:23,870 --> 01:57:25,972 EVER TALKED TO YOU ABOUT IT. 3621 01:57:26,038 --> 01:57:27,507 AND YOU'RE STILL ALIVE. 3622 01:57:27,573 --> 01:57:28,574 PEOPLE WOULD GET A LOT OF THINGS 3623 01:57:28,641 --> 01:57:31,310 RIGHT BUT THERE MAY BE SOME 3624 01:57:31,377 --> 01:57:33,079 THINGS THAT WERE GOTTEN WRONG. 3625 01:57:33,146 --> 01:57:34,280 BUT YOU WOULD PROBABLY BE 3626 01:57:34,347 --> 01:57:36,015 SAYING, WOW, YOU'RE WRITING ALL 3627 01:57:36,082 --> 01:57:37,216 THIS ABOUT ME AND NOT SPEAKING 3628 01:57:37,283 --> 01:57:40,953 TO ME. 3629 01:57:41,020 --> 01:57:42,688 SO IN GETTING A CHANCE 3630 01:57:42,755 --> 01:57:45,191 FORTUNATELY TO SPEND SOME TIME 3631 01:57:45,258 --> 01:57:47,660 WITH SOME ANCIENT CULTURES OR 3632 01:57:47,727 --> 01:57:50,997 CIVILIZATIONS IN AFRICA AND 3633 01:57:51,063 --> 01:57:53,399 AUSTRALIA, WHERE MUSIC TO THEM 3634 01:57:53,466 --> 01:57:59,205 IS A REALITY, THAT GETS THE 3635 01:57:59,272 --> 01:58:00,940 EASIEST WAY TO SAY THAT A 3636 01:58:01,007 --> 01:58:03,509 SPIRIT, LIKE MY PARENTS AROUND 3637 01:58:03,576 --> 01:58:04,444 AREN'T ANYMORE, BUT I STILL 3638 01:58:04,510 --> 01:58:05,745 SPEAK WITH THEM, I STILL HEAR 3639 01:58:05,812 --> 01:58:06,813 THEM, AND I THINK A LOT OF US 3640 01:58:06,879 --> 01:58:11,584 COULD SAY THE SAME THING. 3641 01:58:11,651 --> 01:58:17,824 SO AS A THOUGHT, WHAT IF WE 3642 01:58:17,890 --> 01:58:22,261 ACTUALLY ASKED MUSIC WHAT MUSIC 3643 01:58:22,328 --> 01:58:24,664 THOUGHT AT ANY GIVEN TIME? 3644 01:58:24,730 --> 01:58:27,867 WE TALK ABOUT HER A LOT. 3645 01:58:27,934 --> 01:58:29,802 WE PLAY ABOUT HER, WE CAN EVEN 3646 01:58:29,869 --> 01:58:34,273 WRITE HER DOWN. 3647 01:58:34,340 --> 01:58:35,975 AND SOME OF US EVEN LISTEN BUT 3648 01:58:36,042 --> 01:58:37,810 DO WE ACTUALLY CONVERSE? 3649 01:58:37,877 --> 01:58:39,645 AND JUST TAKE THIS NOT AS TRUTH 3650 01:58:39,712 --> 01:58:41,280 OR CRITICISM OR ANYTHING, JUST 3651 01:58:41,347 --> 01:58:46,419 THOUGHT, FICTION. 3652 01:58:46,486 --> 01:58:50,156 WHAT IF YOU HAD A BEST FRIEND, 3653 01:58:50,223 --> 01:58:51,457 AND YOUR BEST FRIEND NO LONGER 3654 01:58:51,524 --> 01:58:52,992 LISTENED TO YOU? 3655 01:58:53,059 --> 01:58:54,327 HOW LONG WOULD THEY REMAIN YOUR 3656 01:58:54,393 --> 01:58:56,262 BEST FRIEND? 3657 01:58:56,329 --> 01:58:58,364 PROBABLY NOT THAT LONG. 3658 01:58:58,431 --> 01:59:01,133 SO SOME OF US MUSICIANS REALIZE 3659 01:59:01,200 --> 01:59:03,135 THAT SOMETIMES WE GO TO PLAY AND 3660 01:59:03,202 --> 01:59:05,104 MUSIC DOESN'T SHOW UP. 3661 01:59:05,171 --> 01:59:06,873 [LAUGHTER] 3662 01:59:06,939 --> 01:59:08,641 YOUR BEST FRIEND WHO YOU DON'T 3663 01:59:08,708 --> 01:59:10,042 LISTEN TO WOULDN'T SHOW UP ALL 3664 01:59:10,109 --> 01:59:11,277 THE TIME EITHER. 3665 01:59:11,344 --> 01:59:12,478 SO JUST AS A THOUGHT, I DON'T 3666 01:59:12,545 --> 01:59:16,015 KNOW HOW IT WORKS, BECAUSE I 3667 01:59:16,082 --> 01:59:17,817 PLAY MUSIC, I'VE PLAYED MUSIC MY 3668 01:59:17,884 --> 01:59:18,918 WHOLE LIFE, AND I WOULDN'T SAY 3669 01:59:18,985 --> 01:59:21,354 THAT I STUDY IT IN THE SAME WAY, 3670 01:59:21,420 --> 01:59:22,655 BUT HAVING BECOME GOOD FRIENDS 3671 01:59:22,722 --> 01:59:24,524 WITH DAN, I REALIZED, WELL, I 3672 01:59:24,590 --> 01:59:25,958 HAVE STUDIED MUSIC IN A 3673 01:59:26,025 --> 01:59:30,830 DIFFERENT WAY, FROM THE BAND 3674 01:59:30,897 --> 01:59:31,030 STAND. 3675 01:59:31,097 --> 01:59:33,399 BUT WHEN I HEAR SOMEONE LIKE 3676 01:59:33,466 --> 01:59:35,001 SHELLY BERG COME UP WITH A SONG 3677 01:59:35,067 --> 01:59:38,437 LIKE THAT, AND HE SAID THE SONG 3678 01:59:38,504 --> 01:59:39,539 SHOWED UP IN THE SAME TIME IT 3679 01:59:39,605 --> 01:59:42,575 TOOK FOR HIM TO PLAY IT, THAT'S 3680 01:59:42,642 --> 01:59:46,512 SOMEONE WHO'S LISTENING. 3681 01:59:46,579 --> 01:59:47,813 SOMEONE WHO'S LISTENING. 3682 01:59:47,880 --> 01:59:49,315 AND I BELIEVE THERE IS A PLACE 3683 01:59:49,382 --> 01:59:50,550 FOR THAT. 3684 01:59:50,616 --> 01:59:51,751 OR MAYBE THERE'S A PLACE FOR 3685 01:59:51,817 --> 01:59:55,588 THAT IN OUR STUDIES. 3686 01:59:55,655 --> 01:59:57,456 MAYBE WE CAN EVEN SEE WHAT 3687 01:59:57,523 --> 01:59:58,658 MUSIC -- WE ASK EACH OTHER 3688 01:59:58,724 --> 01:59:59,992 QUESTIONS, WE DO THIS, BUT MAYBE 3689 02:00:00,059 --> 02:00:02,795 WHAT WOULD HAPPEN IF WE ACTUALLY 3690 02:00:02,862 --> 02:00:04,764 ASKED MUSIC, AS IF MUSIC IS A 3691 02:00:04,830 --> 02:00:06,532 SPIRIT OR SOMETHING THAT IS 3692 02:00:06,599 --> 02:00:08,067 REALLY ALIVE. 3693 02:00:08,134 --> 02:00:09,802 LIKE THE WIND, RIGHT? 3694 02:00:09,869 --> 02:00:11,804 WE CAN'T SEE THE WIND. 3695 02:00:11,871 --> 02:00:13,372 BUT WE CAN FEEL IT, WE KNOW IT'S 3696 02:00:13,439 --> 02:00:13,639 THERE. 3697 02:00:13,706 --> 02:00:16,342 WE CAN'T SEE MUSIC, BUT LIKE 3698 02:00:16,409 --> 02:00:17,209 CONFETTI THAT'S BLOWN IN THE 3699 02:00:17,276 --> 02:00:19,245 WIND, WE HAVE NOTES THAT'S BLOWN 3700 02:00:19,312 --> 02:00:19,745 BY MUSIC. 3701 02:00:19,812 --> 02:00:21,013 MAYBE WE CAN TALK TO MUSIC AND 3702 02:00:21,080 --> 02:00:22,381 GET AN ANSWER. 3703 02:00:22,448 --> 02:00:24,550 SOMETHING TO THINK ABOUT. 3704 02:00:24,617 --> 02:00:24,984 THANKS. 3705 02:00:25,051 --> 02:00:30,923 [APPLAUSE] 3706 02:00:30,990 --> 02:00:32,525 >> THANK YOU, VICTOR. 3707 02:00:32,592 --> 02:00:36,028 WE'RE GOING TO NOW ASK ELIZABETH 3708 02:00:36,095 --> 02:00:36,796 MARGULIS. 3709 02:00:36,862 --> 02:00:37,463 >> THANK YOU. 3710 02:00:37,530 --> 02:00:38,798 SO VICTOR WOOTEN ASKED US TO 3711 02:00:38,864 --> 02:00:40,099 LISTEN TO MUSIC, AND NOW I'M 3712 02:00:40,166 --> 02:00:44,136 SORRY YOU HAVE ME INSTEAD OF 3713 02:00:44,203 --> 02:00:45,237 MUSIC BUT I'LL READ YOU SOME 3714 02:00:45,304 --> 02:00:46,739 REMARKS THAT I WROTE IN ADVANCE. 3715 02:00:46,806 --> 02:00:48,274 SO MUSIC HAS STRUCTURE THAT LOTS 3716 02:00:48,341 --> 02:00:50,142 OF PEOPLE HAVE TALKED ABOUT THIS 3717 02:00:50,209 --> 02:00:51,811 MORNING IN TERMS OF ITS 3718 02:00:51,877 --> 02:00:53,012 MATERIALS, BUT IT ALSO HAS 3719 02:00:53,079 --> 02:00:55,848 STRUCTURE IN TERMS OF ITS USES. 3720 02:00:55,915 --> 02:00:57,650 AND INSPIRED BY HOW DIFFERENTLY 3721 02:00:57,717 --> 02:00:59,318 PEOPLE EXPERIENCE THE MUSIC OF 3722 02:00:59,385 --> 02:01:02,021 VIOLINIST JOSHUA BELL, WHEN HE 3723 02:01:02,088 --> 02:01:03,956 APPEARED IN THE WASHINGTON, D.C. 3724 02:01:04,023 --> 02:01:05,491 METRO, AS OPPOSED TO THE STAGES 3725 02:01:05,558 --> 02:01:07,226 OF CARNEGIE HALL, WE WERE 3726 02:01:07,293 --> 02:01:10,196 INSPIRED TO USE NEUROIMAGING TO 3727 02:01:10,262 --> 02:01:10,963 EXAMINE WHAT HAPPENED WHEN 3728 02:01:11,030 --> 02:01:13,366 PEOPLE LISTENED TO THE SAME 3729 02:01:13,432 --> 02:01:14,900 MUSIC, SO THE SAME MATERIAL IN 3730 02:01:14,967 --> 02:01:17,536 TERMS OF STRUCTURE, BUT IN 3731 02:01:17,603 --> 02:01:18,971 DIFFERENT SIMULATED USE 3732 02:01:19,038 --> 02:01:19,238 CONTEXTS. 3733 02:01:19,305 --> 02:01:20,806 AND THINK ABOUT HOW IMPOVERISHED 3734 02:01:20,873 --> 02:01:22,008 THIS IS COMPARED TO ALL THE 3735 02:01:22,074 --> 02:01:23,209 INFORMATION YOU HAVE FROM BEING 3736 02:01:23,275 --> 02:01:24,777 IN THE SUBWAY OR BEING IN A 3737 02:01:24,844 --> 02:01:25,544 BEAUTIFUL CONCERT HALL. 3738 02:01:25,611 --> 02:01:27,046 WE JUST TOLD PEOPLE, YOU'RE 3739 02:01:27,113 --> 02:01:29,749 GOING TO HEAR A CONSERVATORY 3740 02:01:29,815 --> 02:01:31,450 STUDENT PERFORM NOW, OR YOU'RE 3741 02:01:31,517 --> 02:01:33,753 GOING TO HEAR A WORLD RENOWNED 3742 02:01:33,819 --> 02:01:36,155 PROFESSIONAL. 3743 02:01:36,222 --> 02:01:37,623 ACTIVATION OF REWARD CIRCUITRY 3744 02:01:37,690 --> 02:01:41,193 THROUGHOUT THE TRAITION DURATIOE 3745 02:01:41,260 --> 02:01:43,162 EXCERPT WAS DEPENDENT ON WHETHER 3746 02:01:43,229 --> 02:01:44,630 THEY'D GONE INTO IT THINKING IT 3747 02:01:44,697 --> 02:01:47,667 CAME FROM A REVERED ARTIST TORER 3748 02:01:47,733 --> 02:01:49,035 NOT. 3749 02:01:49,101 --> 02:01:50,002 MUSIC'S MATERIAL STRUCTURE CAN 3750 02:01:50,069 --> 02:01:51,170 BE CONTROLLED IN EXPERIMENTS AND 3751 02:01:51,237 --> 02:01:53,205 IN CLINICAL SETTINGS THAT I WANT 3752 02:01:53,272 --> 02:01:54,340 TO ARGUE THAT WE NEED TO THINK 3753 02:01:54,407 --> 02:01:55,541 ABOUT AS MUCH AS THE PATTERNS OF 3754 02:01:55,608 --> 02:01:57,243 USE AND EXPOSURE THAT PREDATED 3755 02:01:57,309 --> 02:01:58,144 THAT EXPERIMENT OR THAT SESSION 3756 02:01:58,210 --> 02:01:59,445 IF WE WANT TO OPTIMIZE THE 3757 02:01:59,512 --> 02:01:59,679 EFFECT. 3758 02:01:59,745 --> 02:02:01,247 I THINK THAT RESONATES WITH 3759 02:02:01,313 --> 02:02:02,214 VARIOUS THINGS WE'VE HEARD THIS 3760 02:02:02,281 --> 02:02:03,549 MORNING AS WELL. 3761 02:02:03,616 --> 02:02:06,085 I WANT TO EMPHASIZE THAT THIS 3762 02:02:06,152 --> 02:02:09,689 DOES NOT CONFINE THINGS TO 3763 02:02:09,755 --> 02:02:10,322 HOPELESS SUBJECT TIFLT. 3764 02:02:10,389 --> 02:02:11,724 IN FACT EVEN WHEN WE ASK PEOPLE 3765 02:02:11,791 --> 02:02:13,559 TO PERFORM A WILDLY 3766 02:02:13,626 --> 02:02:15,027 UNCONSTRAINED TASK LIKE FREELY 3767 02:02:15,094 --> 02:02:16,028 DESCRIBING THE STORIES THEY 3768 02:02:16,095 --> 02:02:17,263 IMAGINED WHILE LISTENING TO 3769 02:02:17,329 --> 02:02:18,531 EXCERPTS OF MUSIC THEY'D NEVER 3770 02:02:18,597 --> 02:02:19,665 HEARD BEFORE, PEOPLE WHO SHARED 3771 02:02:19,732 --> 02:02:21,500 SOME KIND OF CULTURE, SOME 3772 02:02:21,567 --> 02:02:24,570 LIFELONG PATTERN OF USE AND 3773 02:02:24,637 --> 02:02:26,338 EXPOSURE, IMAGINED HIGHLY 3774 02:02:26,405 --> 02:02:27,740 SIMILAR FICTIONAL SCENARIO, DOWN 3775 02:02:27,807 --> 02:02:29,308 TO INCREDIBLY CONCRETE ASPECTS 3776 02:02:29,375 --> 02:02:33,045 OF KERIK CHARACTER, SET, TIME AD 3777 02:02:33,112 --> 02:02:33,679 EVENTS. 3778 02:02:33,746 --> 02:02:35,114 MUSIC IS STICKY. 3779 02:02:35,181 --> 02:02:37,750 IT ACCRUES SO MUCH OF ITS 3780 02:02:37,817 --> 02:02:39,285 SURROUNDING CONTEXTS, FUELING 3781 02:02:39,351 --> 02:02:40,453 VIVID MEMORIES AND IMAGINING 3782 02:02:40,519 --> 02:02:41,387 THAT CAN BE KEY TO INDIVIDUAL 3783 02:02:41,454 --> 02:02:43,055 AND GROUP IDENTITIES. 3784 02:02:43,122 --> 02:02:45,324 TO MOVE RESEARCH ON MUSIC AS 3785 02:02:45,391 --> 02:02:46,225 MEDICINE FORWARD WE NEED TO 3786 02:02:46,292 --> 02:02:47,960 ASSEMBLE RESEARCH TEAMS WHO HAVE 3787 02:02:48,027 --> 02:02:48,928 EXPERTISE THINKING DEEPLY ABOUT 3788 02:02:48,994 --> 02:02:51,130 BOTH ASPECTS OF MUSIC STRUCTURE, 3789 02:02:51,197 --> 02:02:55,101 ITS MATERIAL AND ITS USES IN 3790 02:02:55,167 --> 02:02:55,367 CULTURES. 3791 02:02:55,434 --> 02:02:55,634 THANK YOU. 3792 02:02:55,701 --> 02:03:02,108 [APPLAUSE] 3793 02:03:02,174 --> 02:03:03,876 >> OKAY. 3794 02:03:03,943 --> 02:03:10,216 WHAT WE'RE LOOKING AT HERE IS 3795 02:03:10,282 --> 02:03:12,184 COUPLING OF THE DYNAMIC 3796 02:03:12,251 --> 02:03:15,621 STRUCTURE IN MUSIC TO THE 3797 02:03:15,688 --> 02:03:18,457 DYNAMICS OF MUSIC-EVOKED 3798 02:03:18,524 --> 02:03:19,859 REMEMBERING EXPERIENCES. 3799 02:03:19,925 --> 02:03:21,827 SO WE'VE LEARNED THAT MUSIC 3800 02:03:21,894 --> 02:03:25,898 DEPENDS ON VARIOUS FEATURES IN 3801 02:03:25,965 --> 02:03:29,735 WESTERN TONAL MUSIC, MELODY AND 3802 02:03:29,802 --> 02:03:31,370 HARMONY CRUCIALLY DEPEND ON 3803 02:03:31,437 --> 02:03:32,671 PITCH, THIS NOTION OF MAJOR AND 3804 02:03:32,738 --> 02:03:35,441 MINOR KEYS, AND IT TURNS OUT 3805 02:03:35,508 --> 02:03:38,177 THAT THIS HAS A BEAUTIFUL 3806 02:03:38,244 --> 02:03:40,946 GEOMETRY THAT WE SEE ON THE LEFT 3807 02:03:41,013 --> 02:03:42,481 THERE, THE MAJOR AND MINOR KEYS 3808 02:03:42,548 --> 02:03:45,184 ACTUALLY MAP ON TO THE SURFACE 3809 02:03:45,251 --> 02:03:49,388 OF A TAURUS OR A BAGEL, GIVEN 3810 02:03:49,455 --> 02:03:50,689 THAT IT'S APPROACHING LUNCHTIME. 3811 02:03:50,756 --> 02:03:53,592 SO WHAT WE CAN DO IS WE CAN TAKE 3812 02:03:53,659 --> 02:03:54,927 ANY PIECE OF MUSIC AND WE CAN 3813 02:03:54,994 --> 02:03:56,328 ACTUALLY MODEL HOW IT MOVES 3814 02:03:56,395 --> 02:04:00,399 AROUND IN TONAL SPACE, AND WE 3815 02:04:00,466 --> 02:04:05,471 CAN THEN USE THOSE SIGNATURES TO 3816 02:04:05,538 --> 02:04:07,239 PROBE WHERE IN THE BRAIN THE 3817 02:04:07,306 --> 02:04:09,341 TEMPORAL DYNAMICS OF THE 3818 02:04:09,408 --> 02:04:11,377 ACTIVITY ARE SORT OF MATCHING 3819 02:04:11,443 --> 02:04:12,611 THE TEMPORAL STRUCTURE, AND 3820 02:04:12,678 --> 02:04:16,015 THAT'S WHAT WE SEE IN THAT 3821 02:04:16,081 --> 02:04:17,550 BOTTOM LEFT RECTANGLE THERE. 3822 02:04:17,616 --> 02:04:21,153 EACH OF THOSE VERTICAL COLUMNS 3823 02:04:21,220 --> 02:04:25,124 IS THE SIGNATURE OF A 30-SECOND 3824 02:04:25,191 --> 02:04:26,859 EXCERPT OF POPULAR MUSIC MOVING 3825 02:04:26,926 --> 02:04:28,394 THROUGH TONAL SPACE, AND WE HAVE 3826 02:04:28,460 --> 02:04:29,628 TWO SETS OF THOSE BARS. 3827 02:04:29,695 --> 02:04:31,363 THOSE THAT ARE EVOKING MEMORIES 3828 02:04:31,430 --> 02:04:34,200 AND THOSE THAT AREN'T EVOKING 3829 02:04:34,266 --> 02:04:35,201 MEMORIES. 3830 02:04:35,267 --> 02:04:37,603 AND WE CAN THEN EXAMINE HOW MUCH 3831 02:04:37,670 --> 02:04:38,304 OF THE VARIATION AND THE 3832 02:04:38,370 --> 02:04:39,572 ACTIVITY IN EACH GIVEN PART OF 3833 02:04:39,638 --> 02:04:41,640 THE BRAIN IS BEING EXPLAINED BY 3834 02:04:41,707 --> 02:04:44,944 THE MEMORY EVOKED MUSIC VERSUS 3835 02:04:45,010 --> 02:04:48,214 THE NON-MEMORY EVOKING MUSIC AND 3836 02:04:48,280 --> 02:04:49,782 THAT RATIO IS THE COLOR CODE 3837 02:04:49,849 --> 02:04:50,416 THAT YOU SEE. 3838 02:04:50,482 --> 02:04:52,985 SO REGIONS IN RED ARE COUPLING 3839 02:04:53,052 --> 02:04:55,120 THAT BRAIN REGION'S ACTIVITIES 3840 02:04:55,187 --> 02:04:55,921 COUPLING STRONGLY TO THE MUSIC 3841 02:04:55,988 --> 02:04:58,858 WHEN WE'RE EXPERIENCING A MEMORY 3842 02:04:58,924 --> 02:05:01,393 SUCH AS IN THE MEDIAL PREFRONTAL 3843 02:05:01,460 --> 02:05:02,828 CORTEX, WHICH IS REALLY CRUCIAL 3844 02:05:02,895 --> 02:05:05,798 FOR REPRESENTATIONS OF SELF AND 3845 02:05:05,865 --> 02:05:07,733 SOCIAL COGNITION OR MEMORIES OF 3846 02:05:07,800 --> 02:05:11,237 OTHERS WHICH ARE SO OFTEN A 3847 02:05:11,303 --> 02:05:14,406 CENTRAL PART OF THESE 3848 02:05:14,473 --> 02:05:15,374 MUSIC-EVOKED REMEMBERING 3849 02:05:15,441 --> 02:05:18,143 EXPERIENCES. 3850 02:05:18,210 --> 02:05:19,478 SO THESE TYPES OF EXPERIMENTS 3851 02:05:19,545 --> 02:05:23,415 ARE HELPING US TRY TO GET AT THE 3852 02:05:23,482 --> 02:05:24,950 STRUCTURE OF HOW DYNAMICS OF 3853 02:05:25,017 --> 02:05:26,585 MUSIC ARE COUPLING WITH 3854 02:05:26,652 --> 02:05:27,586 MEMORIES, AND SORT OF WHERE 3855 02:05:27,653 --> 02:05:29,321 WE'RE TRYING TO TAKE IN NOW WITH 3856 02:05:29,388 --> 02:05:34,793 THE HELP OF FUNDING FROM THE 3857 02:05:34,860 --> 02:05:36,662 SOUND HEALTH INITIATIVE IS 3858 02:05:36,729 --> 02:05:38,631 ACTUALLY LOOKING AT THE ROLE OF 3859 02:05:38,697 --> 02:05:39,732 THE EARWORM. 3860 02:05:39,798 --> 02:05:41,700 SO MUSIC THAT GETS STUCK IN YOUR 3861 02:05:41,767 --> 02:05:43,369 HEAD, IN FACT, THAT'S JUST THIS 3862 02:05:43,435 --> 02:05:44,803 DYNAMIC STRUCTURE REPEATING OVER 3863 02:05:44,870 --> 02:05:45,871 AND OVER, SORT OF REHEARSING, 3864 02:05:45,938 --> 02:05:48,307 AND WE'VE BEEN ABLE TO SHOW IN 3865 02:05:48,374 --> 02:05:50,175 BEHAVIORAL EXPERIMENTS THAT IT 3866 02:05:50,242 --> 02:05:52,111 ACTUALLY -- THOSE EARWORMS HELP 3867 02:05:52,177 --> 02:05:53,479 US CONSOLIDATE MEMORIES FOR 3868 02:05:53,545 --> 02:05:54,246 OTHER INFORMATION ALSO. 3869 02:05:54,313 --> 02:05:56,515 SO WE THINK THAT THAT MAY BE 3870 02:05:56,582 --> 02:05:59,585 GETTING AT THE MECHANISM OF HOW 3871 02:05:59,652 --> 02:06:03,989 THESE MUSIC-' VOK- -- OR WHY MUC 3872 02:06:04,056 --> 02:06:05,291 BECOMES SUCH A STRONG TRIGGER OF 3873 02:06:05,357 --> 02:06:07,293 THESE MEMORIES. 3874 02:06:07,359 --> 02:06:11,230 AND SO THEN WE'RE HOPING TO TAKE 3875 02:06:11,297 --> 02:06:12,865 THAT INTO NEUROIMAGING 3876 02:06:12,932 --> 02:06:14,366 EXPERIMENTS WHERE WE CAN LOOK AT 3877 02:06:14,433 --> 02:06:20,205 SORT OF THE FORMATION OF 3878 02:06:20,272 --> 02:06:21,173 MEMORIES RATHER THAN THEIR 3879 02:06:21,240 --> 02:06:22,708 SUBSEQUENTLY ACTIVATED REPLAY IN 3880 02:06:22,775 --> 02:06:24,810 THE MANY BRAIN AREAS THAT 3881 02:06:24,877 --> 02:06:25,911 SUPPORT THOSE RICH REMEMBERING 3882 02:06:25,978 --> 02:06:31,016 EXPERIENCES. 3883 02:06:31,083 --> 02:06:34,887 [APPLAUSE] 3884 02:06:34,954 --> 02:06:38,857 >> FRANK? 3885 02:06:38,924 --> 02:06:39,825 >> OKAY. 3886 02:06:39,892 --> 02:06:40,793 SO I'M FRANK RUSSO. 3887 02:06:40,859 --> 02:06:43,429 I'M GOING TO START WITH A PAUL 3888 02:06:43,495 --> 02:06:44,296 MCCARTNEY QUOTE. 3889 02:06:44,363 --> 02:06:47,132 I'M TALKING SPECIFICALLY ABOUT 3890 02:06:47,199 --> 02:06:48,867 MUSICAL SYNCHRONY, AND SO IS 3891 02:06:48,934 --> 02:06:49,568 PAUL HERE. 3892 02:06:49,635 --> 02:06:50,636 HE'S TALKING ABOUT IT IN THE 3893 02:06:50,703 --> 02:06:52,004 CONTEXT OF SINGING IN A CHOIR. 3894 02:06:52,071 --> 02:06:54,039 YOU CAN THINK ABOUT IT MORE 3895 02:06:54,106 --> 02:06:55,140 BROADLY, AN ORCHESTRA PLAYING 3896 02:06:55,207 --> 02:06:56,475 TOGETHER, A BAND PLAYING 3897 02:06:56,542 --> 02:06:57,776 TOGETHER, PEOPLE DRUMMING, 3898 02:06:57,843 --> 02:06:58,143 PEOPLE DANCING. 3899 02:06:58,210 --> 02:07:00,746 IT'S AN IMPORTANT PHENOMENA. 3900 02:07:00,813 --> 02:07:01,947 I LOVE TO HEAR A CHOIR. 3901 02:07:02,014 --> 02:07:03,682 I LOVE THE HUMANITY TO SEE THE 3902 02:07:03,749 --> 02:07:05,351 FACES OF REAL PEOPLE DEVOTING 3903 02:07:05,417 --> 02:07:06,986 THEMSELVES TO A PIECE OF MUSIC. 3904 02:07:07,052 --> 02:07:08,220 I LIKE THE TEAM WORK. 3905 02:07:08,287 --> 02:07:09,989 IT MAKES ME FEEL OPTIMISTIC 3906 02:07:10,055 --> 02:07:11,690 ABOUT THE HUMAN RACE WHEN I SEE 3907 02:07:11,757 --> 02:07:13,792 THEM COOPERATING LIKE THAT. 3908 02:07:13,859 --> 02:07:14,994 SOMETHING WE NEED MORE OF RIGHT 3909 02:07:15,060 --> 02:07:17,963 NOW. 3910 02:07:18,030 --> 02:07:21,033 SO MUSICAL SYNCHRONY IN MY MIND 3911 02:07:21,100 --> 02:07:22,901 LEADS TO A BLURRING OF THE 3912 02:07:22,968 --> 02:07:26,205 BOUNDARY BETWEEN SELF AND OTHER. 3913 02:07:26,271 --> 02:07:27,506 WE STUDY THIS IN THE LAB IN 3914 02:07:27,573 --> 02:07:28,273 DIFFERENT WAYS. 3915 02:07:28,340 --> 02:07:32,644 WE ASK PEOPLE TO ASSESS THEIR 3916 02:07:32,711 --> 02:07:34,079 MOOD FOLLOWING SINGING, SO I 3917 02:07:34,146 --> 02:07:35,614 SHOULDN'T SAY THE LAB, SOMETIMES 3918 02:07:35,681 --> 02:07:36,682 IT'S A ROOM LIKE THIS WHERE 3919 02:07:36,749 --> 02:07:38,117 PEOPLE ARE SINGING TOGETHER. 3920 02:07:38,183 --> 02:07:40,219 WE ASK THEM ABOUT THEIR MOOD 3921 02:07:40,285 --> 02:07:41,420 BEFORE THEY SING AND AFTER THEY 3922 02:07:41,487 --> 02:07:41,854 SING. 3923 02:07:41,920 --> 02:07:43,689 THOSE RESULTS ARE NOT JUST 3924 02:07:43,756 --> 02:07:44,857 PERFUNCTORY RESPONSES, THEY'RE 3925 02:07:44,923 --> 02:07:45,724 NOT JUST TELLING US WHAT WE WANT 3926 02:07:45,791 --> 02:07:46,158 TO HEAR. 3927 02:07:46,225 --> 02:07:47,493 SOMETIMES WE DO MORE SUBTLE 3928 02:07:47,559 --> 02:07:50,029 THINGS, LIKE WE ASK THEM TO 3929 02:07:50,095 --> 02:07:51,397 DECIDE WHAT THEY WANT TO DO WITH 3930 02:07:51,463 --> 02:07:53,499 SOME MONEY THAT WE GIVE THEM. 3931 02:07:53,565 --> 02:07:55,234 AND WE FIND THAT PEOPLE ARE MORE 3932 02:07:55,300 --> 02:07:57,102 WILLING TO SHARE THAT MONEY 3933 02:07:57,169 --> 02:07:58,237 FOLLOWING AN EXERCISE IN MUSICAL 3934 02:07:58,303 --> 02:07:59,304 SYNCHRONY. 3935 02:07:59,371 --> 02:08:03,909 SOMETIMES WE STUDY THIS THROUGH 3936 02:08:03,976 --> 02:08:04,877 NEUROHORMONES, SO WE ASK THIS 3937 02:08:04,943 --> 02:08:06,412 PEOPLE TO PERFORM THIS MUSICAL 3938 02:08:06,478 --> 02:08:09,281 SYNCHRONY TASK, WE ASK THEM TO 3939 02:08:09,348 --> 02:08:13,419 CHEW ON A SALAVETTE OR SPIT INTO 3940 02:08:13,485 --> 02:08:14,987 A TUBE AND THEN WE CAN ASSAY 3941 02:08:15,054 --> 02:08:17,856 THAT FOR CORTISOL AND OXYTOCIN. 3942 02:08:17,923 --> 02:08:20,025 AND SOMETIMES WE ASSESS PAIN. 3943 02:08:20,092 --> 02:08:21,760 SO I'M GOING TO DRILL DOWN JUST 3944 02:08:21,827 --> 02:08:24,730 A LITTLE BIT NOW WITH MY NEXT 3945 02:08:24,797 --> 02:08:25,497 SLIDE. 3946 02:08:25,564 --> 02:08:26,932 AND THIS IS JUST ONE STUDY. 3947 02:08:26,999 --> 02:08:29,668 WE'VE STUDIED THROUGH THE SING 3948 02:08:29,735 --> 02:08:31,537 WELL NETWORK, IT'S A NETWORK OF 3949 02:08:31,603 --> 02:08:32,638 ABOUT 50 RESEARCHERS AROUND THE 3950 02:08:32,704 --> 02:08:34,373 WORLD AND WE'VE STUDIED REALLY 3951 02:08:34,440 --> 02:08:37,009 HUNDREDS OF CHOIRS NOW AND WHAT 3952 02:08:37,076 --> 02:08:41,180 WE SEE CONSISTENTLY IS AN 3953 02:08:41,246 --> 02:08:44,183 INCREASE IN PAIN THRESHOLD, THE 3954 02:08:44,249 --> 02:08:46,618 EXTENT TO WHICH YOU CAN 3955 02:08:46,685 --> 02:08:47,519 WITHSTAND A SMALL AMOUNT OF PAIN 3956 02:08:47,586 --> 02:08:48,754 ON THE FINGER OR THE ARM. 3957 02:08:48,821 --> 02:08:51,657 THIS SEEMS TO INCREASE WHEN 3958 02:08:51,723 --> 02:08:52,825 PEOPLE MOVE TOGETHER THROUGH 3959 02:08:52,891 --> 02:08:56,195 SINGING OR THROUGH DRUMMING. 3960 02:08:56,261 --> 02:09:00,265 WE SEE THE SIMILAR INCREASE IN 3961 02:09:00,332 --> 02:09:02,935 MOOD, AND YOU CAN SEE -- HERE 3962 02:09:03,001 --> 02:09:07,106 WE'RE TRACKING A CHOIR FROM WEEK 3963 02:09:07,172 --> 02:09:08,373 1 TO WEEK 8 TO WEEK 16. 3964 02:09:08,440 --> 02:09:09,842 THIS IS A NEWLY FORMED CHOIR, 3965 02:09:09,908 --> 02:09:10,843 IT'S A GROUP OF OLDER ADULTS 3966 02:09:10,909 --> 02:09:12,144 THAT ARE NOT PROFESSIONAL 3967 02:09:12,211 --> 02:09:12,978 ZINGERS. 3968 02:09:13,045 --> 02:09:15,114 AND WHAT ONE CAN SEE IS THAT THE 3969 02:09:15,180 --> 02:09:18,750 GROUP SEEMS TO BOND TOGETHER, 3970 02:09:18,817 --> 02:09:20,252 AND THEIR MOOD IS ELEVATED 3971 02:09:20,319 --> 02:09:21,587 BEFORE THEY EVEN START SINGING. 3972 02:09:21,653 --> 02:09:24,957 SO WHEN THEY ARRIVE AT CHOIR AT 3973 02:09:25,023 --> 02:09:27,626 WEEK 8, THEY'RE ABOUT WHERE THEY 3974 02:09:27,693 --> 02:09:29,995 WERE WHEN THEY ENDED AT WEEK ONE 3975 02:09:30,062 --> 02:09:31,029 AND THEY'RE HIGHER AGAIN AT WEEK 3976 02:09:31,096 --> 02:09:31,463 16. 3977 02:09:31,530 --> 02:09:32,364 THERE ARE MANY CONTROLS WE 3978 02:09:32,431 --> 02:09:33,332 SHOULD RUN TO UNDERSTAND THIS. 3979 02:09:33,398 --> 02:09:36,201 ONE IS COMPARING THIS TO PEOPLE 3980 02:09:36,268 --> 02:09:36,969 SINGING ON THEIR OWN. 3981 02:09:37,035 --> 02:09:38,403 I LOVE SINGING ON MY OARNTION 3982 02:09:38,470 --> 02:09:40,906 IT'S GREAT, IT'S JUST NOT THE 3983 02:09:40,973 --> 02:09:42,074 SAME. 3984 02:09:42,141 --> 02:09:44,843 WHAT WE SEE IS WE DON'T GET THE 3985 02:09:44,910 --> 02:09:47,379 SAME ELEVATION IN MOOD, THAT 3986 02:09:47,446 --> 02:09:49,348 LOWER LEFT BOX THERE, AND WE 3987 02:09:49,414 --> 02:09:53,385 DON'T SEE THE SAME ELEVATION IN 3988 02:09:53,452 --> 02:09:53,919 OXYTOCIN. 3989 02:09:53,986 --> 02:09:56,889 THIS COMPLICATED SOCIAL BONDING 3990 02:09:56,955 --> 02:09:57,222 HORMONE. 3991 02:09:57,289 --> 02:09:58,524 SO THERE'S A LOT MORE TO DO, BUT 3992 02:09:58,590 --> 02:10:00,859 IT'S ANOTHER IMPORTANT ASPECT OF 3993 02:10:00,926 --> 02:10:03,128 MUSIC AND MUSIC INTERVENTIONS, 3994 02:10:03,195 --> 02:10:06,565 THIS POWER FOR BONDING AND THE 3995 02:10:06,632 --> 02:10:08,867 BLURRING ITSELF. 3996 02:10:08,934 --> 02:10:16,542 [APPLAUSE] 3997 02:10:16,608 --> 02:10:17,743 >> TONYA? 3998 02:10:17,809 --> 02:10:19,878 >> HI, EVERYBODY. 3999 02:10:19,945 --> 02:10:21,980 SO MUSIC CAN HAVE AN ENORMOUS 4000 02:10:22,047 --> 02:10:24,716 IMPACT ON AFFECT OR MOOD, AS 4001 02:10:24,783 --> 02:10:27,119 WE'VE HEARD SEVERAL TIMES THIS 4002 02:10:27,186 --> 02:10:28,220 MORNING. 4003 02:10:28,287 --> 02:10:29,922 ONE OF THE EARLIEST AND MOST 4004 02:10:29,988 --> 02:10:32,291 OBVIOUS EXAMPLE IS CAREGIVER 4005 02:10:32,357 --> 02:10:33,525 SINGING TO BABIES WHO SPEND A 4006 02:10:33,592 --> 02:10:43,936 LOT OF TIME CRYING. 4007 02:10:55,280 --> 02:10:56,582 >> MANY RESEARCH STUDIES HAVE 4008 02:10:56,648 --> 02:10:57,783 NOW SHOWN THAT CAREGIVER SINGING 4009 02:10:57,849 --> 02:10:59,318 CAN BE USED TO ENGAGE THE 4010 02:10:59,384 --> 02:11:01,753 ATTENTION OF INFANTS AND HELP 4011 02:11:01,820 --> 02:11:03,388 REGULATE INFANTS' MOOD. 4012 02:11:03,455 --> 02:11:04,389 CAREGIVERS SPEECH TO BABIES IS 4013 02:11:04,456 --> 02:11:05,924 ALSO MUSICAL WITH PITCH 4014 02:11:05,991 --> 02:11:07,893 CONTOURS, SING SONGY RHYTHMS AND 4015 02:11:07,960 --> 02:11:08,961 REPETITION OF THEMES SIMILAR TO 4016 02:11:09,027 --> 02:11:10,095 THAT OF MUSIC. 4017 02:11:10,162 --> 02:11:11,763 WE'VE SHOWN THAT CAREGIVERS ALSO 4018 02:11:11,830 --> 02:11:13,432 ADJUST THEIR MUSICAL SPEECH AND 4019 02:11:13,498 --> 02:11:14,900 SINGING TO ACCOMMODATE THINGS 4020 02:11:14,967 --> 02:11:18,003 LIKE HEARING LOSS IN BABIES. 4021 02:11:18,070 --> 02:11:19,538 ONE OF MY STUDIES EVEN SHOWED 4022 02:11:19,605 --> 02:11:23,809 THAT MOTHERS USE UNIQUE TUNES IN 4023 02:11:23,875 --> 02:11:25,577 THEIR SPEECH TO BABIES THAT THEY 4024 02:11:25,644 --> 02:11:26,311 REPEAT OVER TIME. 4025 02:11:26,378 --> 02:11:27,846 THIS ALL LEADS TO BABIES LEADING 4026 02:11:27,913 --> 02:11:29,581 MORE ATTENTION AND POSITIVE 4027 02:11:29,648 --> 02:11:31,583 AFFECT WHEN LISTENING TO INFANT 4028 02:11:31,650 --> 02:11:32,684 DIRECTED SPEECH AND SINGING AND 4029 02:11:32,751 --> 02:11:33,986 WHEN LISTENING TO THEIR OWN 4030 02:11:34,052 --> 02:11:35,687 CAREGIVER COMPARED TO ANOTHER 4031 02:11:35,754 --> 02:11:35,921 ADULT. 4032 02:11:35,988 --> 02:11:38,624 AND THEN, AS WE GET OLDER, WE 4033 02:11:38,690 --> 02:11:39,958 BECOME MORE FAMILIAR WITH MUSIC 4034 02:11:40,025 --> 02:11:42,494 OUTSIDE OF OUR SMALL CAREGIVER 4035 02:11:42,561 --> 02:11:42,728 CIRCLE. 4036 02:11:42,794 --> 02:11:43,528 AS YOU CAN SEE IN THE PICTURES 4037 02:11:43,595 --> 02:11:44,963 ON THE LEFT DURING OUR TEENAGE 4038 02:11:45,030 --> 02:11:46,665 YEARS, WE START TO ASSOCIATE 4039 02:11:46,732 --> 02:11:47,899 POSITIVE EMOTIONS WITH MUSIC 4040 02:11:47,966 --> 02:11:49,668 THAT WE MIGHT LISTEN TO WITH OUR 4041 02:11:49,735 --> 02:11:50,969 FRIENDS IN SOCIAL SETTINGS. 4042 02:11:51,036 --> 02:11:52,404 LET'S SAY SOMEONE LISTENED TO 4043 02:11:52,471 --> 02:11:53,739 KISS WITH THEIR BUDDIES IN THE 4044 02:11:53,805 --> 02:11:56,141 80s, AND THEY ALL MET ZINGER 4045 02:11:56,208 --> 02:12:02,948 PSINGERPAUL STANLEY AND A LOCAL. 4046 02:12:03,015 --> 02:12:04,383 THESE ARE NOW TIED TO SPECIFIC 4047 02:12:04,449 --> 02:12:05,884 MEMORIES THAT COME UP WITH THE 4048 02:12:05,951 --> 02:12:08,353 WHEN THE PERSON LATER GOES TO A 4049 02:12:08,420 --> 02:12:08,987 KISS CONCERT. 4050 02:12:09,054 --> 02:12:10,088 THESE WILL ALSO BE THE 4051 02:12:10,155 --> 02:12:11,390 MEANINGFUL MEMORIES THAT LAST 4052 02:12:11,456 --> 02:12:13,959 EVEN IF AN OLDER ADULT DEVELOPS 4053 02:12:14,026 --> 02:12:14,359 DEMENTIA. 4054 02:12:14,426 --> 02:12:16,995 OUR RECENT STUDIES SHOW PLAYING 4055 02:12:17,062 --> 02:12:18,263 INDIVIDUALIZED MUSIC FROM THEIR 4056 02:12:18,330 --> 02:12:19,431 ADOLESCENT YEARS FOR OLDER 4057 02:12:19,498 --> 02:12:22,167 ADULTS WITH DEMENTIA RESULTS IN 4058 02:12:22,234 --> 02:12:24,136 DECREASED SHORT TERM SUNDOWNING 4059 02:12:24,202 --> 02:12:25,037 SYMPTOMS AND LONGER TERM 4060 02:12:25,103 --> 02:12:27,139 BENEFITS FOR MOOD, BEHAVIOR AND 4061 02:12:27,205 --> 02:12:27,539 COGNITION. 4062 02:12:27,606 --> 02:12:29,174 THIS LAST VIDEO SHOWS WE CAN 4063 02:12:29,241 --> 02:12:31,109 IMPROVE THE MOOD OF AN OLDER 4064 02:12:31,176 --> 02:12:33,278 ADULT IN SIMILAR WAYS THAT 4065 02:12:33,345 --> 02:12:34,246 CAREGIVERS REGULATE MOOD IN 4066 02:12:34,313 --> 02:12:35,147 BABIES IF WE PLAY THE RIGHT 4067 02:12:35,213 --> 02:12:38,684 MUSIC. 4068 02:12:38,750 --> 02:12:42,688 [JAZZ MUSIC PLAYING] 4069 02:12:42,754 --> 02:12:43,288 >> THANK YOU. 4070 02:12:43,355 --> 02:12:49,227 [APPLAUSE] 4071 02:12:49,294 --> 02:12:50,829 >> BATTING CLEANUP FOR US IS 4072 02:12:50,896 --> 02:12:52,698 VERN. 4073 02:12:52,764 --> 02:12:56,068 >> THERE IS TO MUCH TO KNOW! 4074 02:12:56,134 --> 02:12:58,503 BY A SHOW OF HANDS, WHO IN THIS 4075 02:12:58,570 --> 02:13:00,138 AUDIENCE HAS EVER BEEN MOVED BY 4076 02:13:00,205 --> 02:13:04,309 A PIECE OF MUSIC? 4077 02:13:04,376 --> 02:13:07,746 DID YOU FEEL COMFORTED, 4078 02:13:07,813 --> 02:13:09,481 UPLIFTED, INSPIRED? 4079 02:13:09,548 --> 02:13:11,183 AND DID YOU EVEN TRY IN A MOMENT 4080 02:13:11,249 --> 02:13:13,018 OF DIFFICULTY TO SELF-MEDICATE 4081 02:13:13,085 --> 02:13:15,654 WITH MUSIC? 4082 02:13:15,721 --> 02:13:18,323 ARE YOU INTREAGED ABOUT HOW 4083 02:13:18,390 --> 02:13:20,125 MUSIC WORKS IN THESE WAYS UPON 4084 02:13:20,192 --> 02:13:20,826 US? 4085 02:13:20,892 --> 02:13:23,161 THROUGHOUT MY CAREER, INCLUDING 4086 02:13:23,228 --> 02:13:24,296 THREE DECADES ON THE MUSIC 4087 02:13:24,363 --> 02:13:26,198 THEORY FACULTY AT PEABODY 4088 02:13:26,264 --> 02:13:27,499 CONSERVATORY OF THE JOHNS 4089 02:13:27,566 --> 02:13:28,734 HOPKINS UNIVERSITY, I HAVE 4090 02:13:28,800 --> 02:13:31,570 INSTRUCTED AND COACHED MUSICIANS 4091 02:13:31,636 --> 02:13:34,473 IN LEARNING HOW TO THINK BY EAR, 4092 02:13:34,539 --> 02:13:37,008 SO THEY CAN BETTER STRATEGIZE 4093 02:13:37,075 --> 02:13:38,744 HOW BEST TO REACH AND MOVE THEIR 4094 02:13:38,810 --> 02:13:40,612 AUDIENCES THROUGH THEIR MUSICAL 4095 02:13:40,679 --> 02:13:44,416 PERFORMANCES AND COMPOSITIONS. 4096 02:13:44,483 --> 02:13:46,218 MUSICIANS WORK DILIGENTLY ALL 4097 02:13:46,284 --> 02:13:48,420 THROUGH THEIR CAREERS, EXPRESSLY 4098 02:13:48,487 --> 02:13:50,589 TO STIR EMOTIONS IN THEIR 4099 02:13:50,655 --> 02:13:51,890 AUDIENCES. 4100 02:13:51,957 --> 02:13:54,226 I'VE BEEN FOLLOWING EMERGING 4101 02:13:54,292 --> 02:13:56,161 EFFORTS AT PEABODY JOHNS 4102 02:13:56,228 --> 02:13:57,829 HOPKINS, THE NIH AND BEYOND TO 4103 02:13:57,896 --> 02:14:00,699 EXPLORE MUSIC'S RELATION TO BOTH 4104 02:14:00,766 --> 02:14:01,900 HEALTH AND THE BRAIN. 4105 02:14:01,967 --> 02:14:05,070 MY SENSE IS THAT A MAJOR 4106 02:14:05,137 --> 02:14:06,938 CHALLENGE IN THESE 4107 02:14:07,005 --> 02:14:08,073 INTERDISCIPLINARY EFFORTS TO USE 4108 02:14:08,140 --> 02:14:09,374 MUSIC AS A THERAPEUTIC 4109 02:14:09,441 --> 02:14:11,810 INTERVENTION IS ENSURING THAT WE 4110 02:14:11,877 --> 02:14:14,946 INVESTIGATE PIECES OF MUSIC 4111 02:14:15,013 --> 02:14:17,516 THEMSELVES WITH THE RIGOR AND 4112 02:14:17,582 --> 02:14:18,383 REPRODUCIBILITY THAT CORRESPOND 4113 02:14:18,450 --> 02:14:20,886 TO THE OVERALL RIGOR AND 4114 02:14:20,952 --> 02:14:21,753 REPRODUCIBILITY OF THE 4115 02:14:21,820 --> 02:14:23,288 SCIENTIFIC APPROACH. 4116 02:14:23,355 --> 02:14:26,191 THE GOOD NEWS, I BELIEVE THIS IS 4117 02:14:26,258 --> 02:14:28,026 ENTIRELY POSSIBLE. 4118 02:14:28,093 --> 02:14:30,195 IN MY YEARS WORKING AT 4119 02:14:30,262 --> 02:14:30,929 PROFESSIONAL SCHOOLS OF MUSIC 4120 02:14:30,996 --> 02:14:32,998 AND IN PRIVATE PRACTICE, I'VE 4121 02:14:33,064 --> 02:14:35,767 EVOLVED REPRODUCIBLE ANALYTICAL 4122 02:14:35,834 --> 02:14:37,836 APPROACHES THAT HELP PERFORMERS 4123 02:14:37,903 --> 02:14:40,172 AND COMPOSERS UNDERSTAND AND 4124 02:14:40,238 --> 02:14:42,808 CAPITALIZE ON THE ARCHITECTURE 4125 02:14:42,874 --> 02:14:44,443 OF WHOLE MUSICAL PIECES. 4126 02:14:44,509 --> 02:14:48,513 IN VARIOUS GENRES FROM BACH, 4127 02:14:48,580 --> 02:14:49,648 LENNON, MCCARTNEY AND BEYOND, 4128 02:14:49,714 --> 02:14:51,616 AND AT VARIOUS HIERARCHICAL 4129 02:14:51,683 --> 02:14:53,151 LEVELS OF DESIGN, ALL FOR THE 4130 02:14:53,218 --> 02:14:54,719 PURPOSE OF BETTER COMMUNICATING 4131 02:14:54,786 --> 02:14:56,555 WITH THEIR AUDIENCES. 4132 02:14:56,621 --> 02:15:00,392 IT IS WHOLE PIECES THAT 4133 02:15:00,459 --> 02:15:01,626 INTRIGUE, CAPTIVATE AND MOVE US 4134 02:15:01,693 --> 02:15:02,894 IN LISTENING. 4135 02:15:02,961 --> 02:15:04,362 I KNOW A LOT ABOUT HOW PIECES 4136 02:15:04,429 --> 02:15:06,765 ARE DESIGNED BY COMPOSERS, 4137 02:15:06,832 --> 02:15:08,333 MASTERED BY PERFORMERS AND 4138 02:15:08,400 --> 02:15:09,968 EXPERIENCED BY LISTENERS. 4139 02:15:10,035 --> 02:15:13,438 I'M SEEKING SCIENTIFIC PARTNERS 4140 02:15:13,505 --> 02:15:14,606 INTERESTED IN DEVELOPING 4141 02:15:14,673 --> 02:15:15,474 HYPOTHESES TO TEST THE EFFECTS 4142 02:15:15,540 --> 02:15:19,444 OF A RANGE OF DESIGN FE FEATUREN 4143 02:15:19,511 --> 02:15:22,180 PIECES OF MUSIC FOR THEIR 4144 02:15:22,247 --> 02:15:22,848 THERAPEUTIC EFFECTS AND 4145 02:15:22,914 --> 02:15:23,982 BENEFITS. 4146 02:15:24,049 --> 02:15:25,584 SUCH RIGOR IS ROUTINE IN THE 4147 02:15:25,650 --> 02:15:27,052 DEVELOPMENT OF OTHER TYPES OF 4148 02:15:27,118 --> 02:15:29,354 EFFECTIVE MEDICAL INTERVENTIONS. 4149 02:15:29,421 --> 02:15:30,755 LET'S BRING RIGOROUS EXAMINATION 4150 02:15:30,822 --> 02:15:33,425 OF THE MUSIC ITSELF THAT MOVES 4151 02:15:33,492 --> 02:15:36,161 US SO, AS WE HARNESS MUSIC'S 4152 02:15:36,228 --> 02:15:36,628 POWER TO HEAL. 4153 02:15:36,695 --> 02:15:36,928 THANK YOU. 4154 02:15:36,995 --> 02:15:46,905 [APPLAUSE] 4155 02:15:46,972 --> 02:15:48,139 >> THANK YOU. 4156 02:15:48,206 --> 02:15:49,107 GIVEN THE TIME, WE ARE NOW GOING 4157 02:15:49,174 --> 02:15:51,176 TO MOVE TO THE Q & A PORTION OF 4158 02:15:51,243 --> 02:15:52,611 THE PANEL DISCUSSION. 4159 02:15:52,677 --> 02:15:54,679 I ENCOURAGE PEOPLE WHO HAVE 4160 02:15:54,746 --> 02:15:56,481 QUESTIONS TO COME UP TO THE MIC 4161 02:15:56,548 --> 02:15:59,184 THAT'S IN THE CENTER, MAYBE JUST 4162 02:15:59,251 --> 02:16:00,385 INTRODUCE THEMSELVES AND THEN 4163 02:16:00,452 --> 02:16:01,119 ASK THEIR QUESTION. 4164 02:16:01,186 --> 02:16:03,488 I'M GOING TO KICK THINGS OFF, 4165 02:16:03,555 --> 02:16:05,357 BECAUSE VERN GAVE ME THE PERFECT 4166 02:16:05,423 --> 02:16:05,790 SEGUE. 4167 02:16:05,857 --> 02:16:07,592 WHAT ARE SOME OF THE -- WHAT ARE 4168 02:16:07,659 --> 02:16:11,763 THE UNTAPPED RESEARCH IDEAS AND 4169 02:16:11,830 --> 02:16:12,931 OPPORTUNITIES IN MUSIC AS 4170 02:16:12,998 --> 02:16:15,767 MEDICINE THAT CAN BE EMPLOYED TO 4171 02:16:15,834 --> 02:16:22,274 STUDY BRAIN AND BODY DISORDERS? 4172 02:16:22,340 --> 02:16:24,109 AND IT'S OPEN TO ANYBODY HERE, 4173 02:16:24,175 --> 02:16:31,983 OR THERE. 4174 02:16:32,050 --> 02:16:34,352 OKAY, PLEASE GO AHEAD. 4175 02:16:34,419 --> 02:16:37,222 >> WES KATZ, UNIVERSITY OF 4176 02:16:37,289 --> 02:16:37,656 MARYLAND. 4177 02:16:37,722 --> 02:16:39,491 WHEN YOU'RE LOOKING AT THE BASIC 4178 02:16:39,558 --> 02:16:41,293 BIOLOGY OR PHYSIOLOGY OF MUSIC, 4179 02:16:41,359 --> 02:16:42,494 SUBJECT SELECTION IS CRITICALLY 4180 02:16:42,561 --> 02:16:42,827 IMPORTANT. 4181 02:16:42,894 --> 02:16:44,229 SO HOW DO YOU SELECT SUBJECTS, 4182 02:16:44,296 --> 02:16:45,830 WHETHER THEY ARE PROFESSIONAL 4183 02:16:45,897 --> 02:16:47,265 MUSICIANS, SELF-IDENTIFIED 4184 02:16:47,332 --> 02:16:49,734 MUSICIANS, NOVICES? 4185 02:16:49,801 --> 02:16:51,136 HOW DO YOU DETERMINE THAT, AND 4186 02:16:51,202 --> 02:16:52,170 HOW DOES THAT IMPACT ON YOUR 4187 02:16:52,237 --> 02:16:54,039 STUDIES? 4188 02:16:54,105 --> 02:17:02,514 GENERAL QUESTION. 4189 02:17:02,581 --> 02:17:06,785 >> IT SEEMS TO ME THAT PEOPLE 4190 02:17:06,851 --> 02:17:07,352 SELF-SELECT FOR MUSIC. 4191 02:17:07,419 --> 02:17:09,421 IF YOU PLAY A PIECE OF MUSIC AND 4192 02:17:09,487 --> 02:17:14,392 YOU WATCH WHOSE EYES LIGHT UP, 4193 02:17:14,459 --> 02:17:16,928 THERE'S A CERTAIN PROCLIVITY TO 4194 02:17:16,995 --> 02:17:21,600 RESPOND THAT YOU COULD USE TO 4195 02:17:21,666 --> 02:17:23,802 AUDITION OR INTERVIEW PEOPLE AND 4196 02:17:23,868 --> 02:17:25,270 STUDY THOSE PEOPLE. 4197 02:17:25,337 --> 02:17:28,974 I'M NOT QUITE SURE THAT JUST 4198 02:17:29,040 --> 02:17:33,111 RANDOM INQUIRY OF PEOPLE IN 4199 02:17:33,178 --> 02:17:33,445 GENERAL. 4200 02:17:33,511 --> 02:17:35,313 I THINK IT HAS SOMETHING WITH 4201 02:17:35,380 --> 02:17:37,649 VICTOR, WHAT YOU WERE SAYING YOU 4202 02:17:37,716 --> 02:17:40,051 HAVE TO BE IN CONVERSATION WITH 4203 02:17:40,118 --> 02:17:41,286 THE MUSIC, YOU KNOW? 4204 02:17:41,353 --> 02:17:43,588 EVEN WHEN YOU DON'T -- YOU KNOW 4205 02:17:43,655 --> 02:17:45,223 IT'S INTUITIVE, WE DON'T NEED TO 4206 02:17:45,290 --> 02:17:48,727 KNOW HOW IT WORKS, BUT YOU HAVE 4207 02:17:48,793 --> 02:17:52,063 TO GET SOME KIND OF RESPONSE. 4208 02:17:52,130 --> 02:17:54,265 >> WE HAVE SOME INSTRUMENTS IN 4209 02:17:54,332 --> 02:17:59,471 THE FIELD FOR ASSESSING DEGREE 4210 02:17:59,537 --> 02:18:00,038 OF MUSECALITY. 4211 02:18:00,105 --> 02:18:01,673 FRANK, DO YOU WANT TO DESCRIBE 4212 02:18:01,740 --> 02:18:01,873 THEM? 4213 02:18:01,940 --> 02:18:02,841 YOU WERE INVOLVED IN SOME OF 4214 02:18:02,907 --> 02:18:05,277 THEM. 4215 02:18:05,343 --> 02:18:11,383 >> YEAH, THERE ARE SOME MUSICAL 4216 02:18:11,449 --> 02:18:12,584 APTITUDE TESTS TA HAVE BEEN 4217 02:18:12,651 --> 02:18:14,986 DEVELOPED THAT ARE USEFUL IN 4218 02:18:15,053 --> 02:18:16,454 CHARACTERIZING WHO IS RECEIVING 4219 02:18:16,521 --> 02:18:18,156 MORE OF A RESPONSE VERSUS 4220 02:18:18,223 --> 02:18:18,690 ANOTHER. 4221 02:18:18,757 --> 02:18:21,326 THERE ARE SOME INSTRUMENTS 4222 02:18:21,393 --> 02:18:23,795 REGARDING THE EXTENT TO WHICH 4223 02:18:23,862 --> 02:18:25,897 WE'RE ABSORBED BY MUSIC, THE 4224 02:18:25,964 --> 02:18:29,401 EXTENT TO WHICH WE RECEIVE A 4225 02:18:29,467 --> 02:18:31,603 REWARD FROM MUSIC, SO THE EXTENT 4226 02:18:31,670 --> 02:18:37,108 TO WHICH THOSE MESSOLIMBIC 4227 02:18:37,175 --> 02:18:39,277 PATHWAYS LIGHT UP. 4228 02:18:39,344 --> 02:18:40,245 THERE ARE UNIQUE INSTRUMENTS 4229 02:18:40,311 --> 02:18:42,981 THAT HAVE BEEN DEVELOPED FOR ALL 4230 02:18:43,048 --> 02:18:44,716 THOSE TYPES OF MUSIC DIMENSIONS. 4231 02:18:44,783 --> 02:18:46,051 WITH RESPECT TO HOW WE SELECT 4232 02:18:46,117 --> 02:18:48,453 PEOPLE, I JUST WANTED TO SAY 4233 02:18:48,520 --> 02:18:49,988 THAT SOMETIMES WITH MUSIC 4234 02:18:50,055 --> 02:18:50,755 INTERVENTIONS, IT'S VERY 4235 02:18:50,822 --> 02:18:51,523 IMPORTANT FOR US TO SELECT 4236 02:18:51,589 --> 02:18:52,857 PEOPLE THAT HAVE VERY LITTLE 4237 02:18:52,924 --> 02:18:54,092 FORMAL MUSIC TRAINING, BECAUSE 4238 02:18:54,159 --> 02:18:55,927 WE'RE INTERESTED IN THAT 4239 02:18:55,994 --> 02:18:56,428 CAUSALITY. 4240 02:18:56,494 --> 02:18:58,930 IN OTHER INSTANCES, WE'RE 4241 02:18:58,997 --> 02:19:01,633 LOOKING AT HOW DOES A LIFETIME 4242 02:19:01,700 --> 02:19:03,334 OF MUSIC MAKING INFLUENCE US. 4243 02:19:03,401 --> 02:19:06,204 SO WE'LL WANT TO COMPARE AND 4244 02:19:06,271 --> 02:19:08,606 ACCOMPLISHED MUSICIAN TO A 4245 02:19:08,673 --> 02:19:08,940 NON-MUSICIAN. 4246 02:19:09,007 --> 02:19:10,375 SO THE SELECTION REALLY DEPENDS 4247 02:19:10,442 --> 02:19:12,243 ON THE QUESTION, BUT WE HAVE 4248 02:19:12,310 --> 02:19:13,678 SOME WELL DEVELOPED INSTRUMENTS 4249 02:19:13,745 --> 02:19:13,845 NOW. 4250 02:19:13,912 --> 02:19:14,646 >> THANK YOU. 4251 02:19:14,713 --> 02:19:16,781 >> AND IN GENERAL, BY 4252 02:19:16,848 --> 02:19:18,183 INSTRUMENTS, HE MEANS 4253 02:19:18,249 --> 02:19:19,317 MEASUREMENT INSTRUMENTS, OF 4254 02:19:19,384 --> 02:19:19,551 COURSE. 4255 02:19:19,617 --> 02:19:21,086 >> RIGHT. 4256 02:19:21,152 --> 02:19:21,352 [LAUGHTER] 4257 02:19:21,419 --> 02:19:21,786 >> THANK YOU. 4258 02:19:21,853 --> 02:19:25,857 >> IN GENERAL, THE FIELD IS 4259 02:19:25,924 --> 02:19:28,460 MOVING TOWARDS A RECOGNITION 4260 02:19:28,526 --> 02:19:30,495 THAT A LOT OF PEOPLE WHO ARE 4261 02:19:30,562 --> 02:19:31,763 MUSICIANS, AS FRANK WAS ALLUDING 4262 02:19:31,830 --> 02:19:33,498 TO, MAY NOT PLAY AN INSTRUMENT 4263 02:19:33,565 --> 02:19:34,265 OR SING. 4264 02:19:34,332 --> 02:19:36,234 THEY MAY BE EXQUISITELY 4265 02:19:36,301 --> 02:19:37,702 SENSITIVE TO MUSIC, THEY MAY BE 4266 02:19:37,769 --> 02:19:41,439 ABLE TO BECOME ENGAGED DEEPLY 4267 02:19:41,506 --> 02:19:44,175 WITH MUSIC IN A WAY THAT WE 4268 02:19:44,242 --> 02:19:46,044 NORMALLY THINK ONLY A MUSICIAN 4269 02:19:46,111 --> 02:19:48,046 OR COMPOSER WOULD, BUT WE CAN 4270 02:19:48,113 --> 02:19:51,416 MEASURE THAT, AND CLASSIFY THEM 4271 02:19:51,483 --> 02:19:55,153 AS SUCH. 4272 02:19:55,220 --> 02:19:56,888 >> I WANT TO THANK ALL THE 4273 02:19:56,955 --> 02:19:58,189 SPEAKERS THIS MORNING. 4274 02:19:58,256 --> 02:19:59,057 IT WAS FANTASTIC. 4275 02:19:59,124 --> 02:20:01,192 I HAVE A QUESTION FOR EDDIE, AND 4276 02:20:01,259 --> 02:20:03,294 THE QUESTION IS, YOU'RE NO DOUBT 4277 02:20:03,361 --> 02:20:04,462 FAMILIAR WITH THE EARLIER 4278 02:20:04,529 --> 02:20:07,632 STUDIES FROM NANCY CAMASHIRE AND 4279 02:20:07,699 --> 02:20:11,102 JOSH AND SAM LOOKING AT 4280 02:20:11,169 --> 02:20:13,438 SPECIALIZATIONS FOR MUSIC VERSUS 4281 02:20:13,505 --> 02:20:14,405 LANGUAGE IN THE BRAIN. 4282 02:20:14,472 --> 02:20:17,475 BUT WHAT YOU'RE DESCRIBING FROM 4283 02:20:17,542 --> 02:20:20,678 THE ECOG STUDIES AS OPPOSED TO 4284 02:20:20,745 --> 02:20:21,880 FMRI STUDIES IS THAT THERE 4285 02:20:21,946 --> 02:20:23,882 REALLY IS INTERDIGITATION AND 4286 02:20:23,948 --> 02:20:24,916 INTERMIXING. 4287 02:20:24,983 --> 02:20:25,583 FIRST QUESTION IS, HOW DOES YOUR 4288 02:20:25,650 --> 02:20:28,653 WORK IMPACT AND MAKE US PERHAPS 4289 02:20:28,720 --> 02:20:30,288 RE-THINK THEIR EARLIER STUDY, 4290 02:20:30,355 --> 02:20:32,290 AND THE SECOND QUESTION IS, IT 4291 02:20:32,357 --> 02:20:39,864 SEEMS LIKE THE SORT OF MUSICAL 4292 02:20:39,931 --> 02:20:40,465 MELODIFICATION IF YOU WILL OF 4293 02:20:40,532 --> 02:20:42,033 SPEECH THAT YOUR POSTDOC IS 4294 02:20:42,100 --> 02:20:43,735 WORKING ON IS VERY SIMILAR WITH 4295 02:20:43,802 --> 02:20:48,273 WHAT'S GOING ON WITH MOTHERESE, 4296 02:20:48,339 --> 02:20:50,341 NOW KNOWN AS PARENTESE, BUT HOW 4297 02:20:50,408 --> 02:20:53,611 DO WE THINK ABOUT THAT AS BEING 4298 02:20:53,678 --> 02:20:56,080 A WAY OF ACCESSING AND 4299 02:20:56,147 --> 02:20:57,482 ACTIVATING THE BRAIN, BOTH FOR 4300 02:20:57,549 --> 02:20:59,517 MUSIC AND FOR SPEECH IN 4301 02:20:59,584 --> 02:21:01,219 CHILDHOOD? 4302 02:21:01,286 --> 02:21:04,856 >> THANKS, JOHN. 4303 02:21:04,923 --> 02:21:06,558 SO THE FIRST QUESTION WAS REALLY 4304 02:21:06,624 --> 02:21:09,661 ABOUT THIS SCIENTIFIC 4305 02:21:09,727 --> 02:21:11,796 NEUROBIOLOGICAL CLAIM THAT WE 4306 02:21:11,863 --> 02:21:13,665 HAVE A MUSIC AREA, A DEDICATED 4307 02:21:13,731 --> 02:21:15,733 PART OF THE CORTEX THAT IS 4308 02:21:15,800 --> 02:21:16,868 WHOLLY SPECIALIZED FOR MUSIC, 4309 02:21:16,935 --> 02:21:20,171 AND I THINK THAT'S BEEN DEBATED 4310 02:21:20,238 --> 02:21:21,272 AN CONTENTIOUS FOR SOME TIME. 4311 02:21:21,339 --> 02:21:22,507 I THINK OURS IS JUST ONE PIECE 4312 02:21:22,574 --> 02:21:25,243 OF EVIDENCE WITH A SLIGHTLY 4313 02:21:25,310 --> 02:21:26,144 DIFFERENT PICTURE. 4314 02:21:26,211 --> 02:21:27,846 WE DO SEE SPECIALIZATION TO 4315 02:21:27,912 --> 02:21:28,513 MUSIC. 4316 02:21:28,580 --> 02:21:32,717 WE DO SEE SINGLE SENSORS AND 4317 02:21:32,784 --> 02:21:33,985 ELECTRODE SITES IN THAT PART OF 4318 02:21:34,052 --> 02:21:35,119 THE TEMPORAL LOBE THAT ARE 4319 02:21:35,186 --> 02:21:37,255 SELECTIVE TO MUSIC, BUT THEY'RE 4320 02:21:37,322 --> 02:21:38,556 SCATTERED WITHIN THE AUDITORY 4321 02:21:38,623 --> 02:21:40,091 CORTEX SO FAR THAT WE CAN SEE 4322 02:21:40,158 --> 02:21:42,727 AMONG THE ONES THAT ARE 4323 02:21:42,794 --> 02:21:43,595 PROCESSING SPEECH IN OTHER 4324 02:21:43,661 --> 02:21:46,831 SOUNDS AS WELL. 4325 02:21:46,898 --> 02:21:48,700 SO I THINK THERE ARE TWO SIDES 4326 02:21:48,766 --> 02:21:49,133 TO THIS. 4327 02:21:49,200 --> 02:21:50,034 IT IS A LITTLE BIT DIFFERENT 4328 02:21:50,101 --> 02:21:52,637 THAN THE UNDERSTANDING THAT WE 4329 02:21:52,704 --> 02:21:54,973 HAD, BUT IT IS A STEP FORWARD 4330 02:21:55,039 --> 02:21:56,941 THAT IT WAS NOT AS SIMPLE AS 4331 02:21:57,008 --> 02:21:59,944 JUST THE MUSIC AREA. 4332 02:22:00,011 --> 02:22:02,046 I THINK JOSH, SAM AND NANCY HAVE 4333 02:22:02,113 --> 02:22:03,581 LOOKED AT SIMILAR DATA WITH 4334 02:22:03,648 --> 02:22:06,651 ACTUALLY SIMILAR CONCLUSION AS 4335 02:22:06,718 --> 02:22:08,086 WELL. 4336 02:22:08,152 --> 02:22:09,320 IN FACT, IF YOU LOOK CAREFULLY 4337 02:22:09,387 --> 02:22:11,122 AT THE ORIGINAL STUDIES, I THINK 4338 02:22:11,189 --> 02:22:12,190 YOU COULD SEE THE EVIDENCE. 4339 02:22:12,257 --> 02:22:13,691 IT WAS MAYBE OVERSIMPLIFIED AS 4340 02:22:13,758 --> 02:22:15,994 PEOPLE WERE TRYING TO REDUCE A 4341 02:22:16,060 --> 02:22:17,695 STORY FROM IT, BUT THE REALITY 4342 02:22:17,762 --> 02:22:18,796 IS IT'S QUITE INTERDIGITATED. 4343 02:22:18,863 --> 02:22:20,098 I THINK IN THAT SENSE, IT MAKES 4344 02:22:20,164 --> 02:22:21,199 SENSE BECAUSE OF THIS 4345 02:22:21,266 --> 02:22:22,433 INTERACTION ACTUALLY AS YOU 4346 02:22:22,500 --> 02:22:24,469 ALLUDE TO IN YOUR SECOND 4347 02:22:24,535 --> 02:22:24,869 QUESTION. 4348 02:22:24,936 --> 02:22:28,907 BETWEEN MELODY AND SPEECH, 4349 02:22:28,973 --> 02:22:30,608 THEY'RE BOTH FORMS OF 4350 02:22:30,675 --> 02:22:32,777 COMMUNICATION, THEY'RE BOTH LIKE 4351 02:22:32,844 --> 02:22:34,746 AUDITORY AND VOCAL. 4352 02:22:34,812 --> 02:22:37,081 IT SEEMS QUITE NATURAL THAT THEY 4353 02:22:37,148 --> 02:22:40,218 WOULD BE USED IN COMBINATION. 4354 02:22:40,285 --> 02:22:41,853 TO ME, IT SEEMS ALMOST UNNATURAL 4355 02:22:41,920 --> 02:22:43,788 THAT WE HAVE SUCH A DICHOTOMY 4356 02:22:43,855 --> 02:22:44,789 ACTUALLY BETWEEN SPEECH AND 4357 02:22:44,856 --> 02:22:49,761 MUSIC, BUT IN SINGING AND OTHER 4358 02:22:49,827 --> 02:22:53,564 FORMS, THEY ARE COMPLETELY 4359 02:22:53,631 --> 02:22:54,899 INTERLEAVED, INTERDIGITATED IN 4360 02:22:54,966 --> 02:22:55,433 FORM. 4361 02:22:55,500 --> 02:22:56,935 WE ARE STARTING TO THINK ABOUT 4362 02:22:57,001 --> 02:22:58,770 WHY MOTHERESE HAS THAT 4363 02:22:58,836 --> 02:23:00,939 PARTICULAR PATTERN TO IT, WHY IS 4364 02:23:01,005 --> 02:23:02,340 THAT MOTHER'S VOICE AND 4365 02:23:02,407 --> 02:23:03,308 ENUNCIATION USED IN THE PITCH 4366 02:23:03,374 --> 02:23:05,076 AND THE PITCH CONTOUR SO HELPFUL 4367 02:23:05,143 --> 02:23:08,346 TO A BABY TO LEARN AND SET DOWN 4368 02:23:08,413 --> 02:23:10,315 THOSE NEURAL IMPRINTS FOR THE 4369 02:23:10,381 --> 02:23:13,117 FIRST LANGUAGE. 4370 02:23:13,184 --> 02:23:14,552 AND WE'RE JUST GETTING STARTED 4371 02:23:14,619 --> 02:23:15,820 TO UNDERSTAND THIS, BUT IT'S A 4372 02:23:15,887 --> 02:23:16,387 NATURAL IMPORTANT QUESTION. 4373 02:23:16,454 --> 02:23:17,455 THANKS FOR BRINGING THAT UP. 4374 02:23:17,522 --> 02:23:22,393 >> THANK YOU. 4375 02:23:22,460 --> 02:23:25,496 >> JUST TO FOLLOW UP ON THAT, 4376 02:23:25,563 --> 02:23:27,231 DR. CHANG, I WONDER IF YOU'VE 4377 02:23:27,298 --> 02:23:28,132 HAD ANY INDIVIDUALS WHO HAPPEN 4378 02:23:28,199 --> 02:23:30,101 TO BE IN YOUR STUDY WHO HAD VERY 4379 02:23:30,168 --> 02:23:31,970 EARLY AND INTENSE MUSICAL 4380 02:23:32,036 --> 02:23:33,538 TRAINING, AND IF SO, WHETHER YOU 4381 02:23:33,604 --> 02:23:35,506 CAN PERCEIVE THERE'S ANY 4382 02:23:35,573 --> 02:23:36,808 DIFFERENCE IN THE FINDINGS. 4383 02:23:36,874 --> 02:23:38,509 BECAUSE WE NEED TO THINK THE 4384 02:23:38,576 --> 02:23:40,378 BRAIN AS NOT SORT OF FIXED, IT'S 4385 02:23:40,445 --> 02:23:42,380 PLASTIC, IT'S RESPONDING, 4386 02:23:42,447 --> 02:23:45,450 ESPECIALLY IN EARLY LIFE TO 4387 02:23:45,516 --> 02:23:45,883 INFLUENCES. 4388 02:23:45,950 --> 02:23:47,118 I'D LOVE TO KNOW WHETHER THE 4389 02:23:47,185 --> 02:23:48,953 PATTERNS CHANGE FOR SOMEBODY WHO 4390 02:23:49,020 --> 02:23:50,655 HAD REALLY INTENSE MUSICAL 4391 02:23:50,722 --> 02:23:53,391 TRAINING BEFORE AGE 7. 4392 02:23:53,458 --> 02:23:55,994 >> I'VE HAD A COUPLE OF 4393 02:23:56,060 --> 02:23:58,830 EXPERIENCES AND PRIVILEGES, 4394 02:23:58,896 --> 02:24:01,766 REALLY, TO WORK WITH PATIENTS 4395 02:24:01,833 --> 02:24:03,167 WHO -- YOU KNOW, PEOPLE COME TO 4396 02:24:03,234 --> 02:24:05,837 US WITH ALL KINDS OF LIFE 4397 02:24:05,903 --> 02:24:07,739 EXPERIENCES. 4398 02:24:07,805 --> 02:24:08,740 NOT SURPRISINGLY, SOME OF THEM 4399 02:24:08,806 --> 02:24:11,209 COME WITH VERY INTENSE MUSICAL 4400 02:24:11,275 --> 02:24:11,476 TRAINING. 4401 02:24:11,542 --> 02:24:15,546 AS WELL IN FACT, I REMEMBER A 4402 02:24:15,613 --> 02:24:16,447 16-YEAR-OLD WHO UNFORTUNATELY 4403 02:24:16,514 --> 02:24:18,416 WAS SUFFERING FROM TEMPORAL LOBE 4404 02:24:18,483 --> 02:24:19,717 SEIZURES AND WE HAD TO MAP THOSE 4405 02:24:19,784 --> 02:24:20,852 OUT AND ELECTRODES WERE THERE, 4406 02:24:20,918 --> 02:24:22,153 AND IT WAS A SURREAL EXPERIENCE 4407 02:24:22,220 --> 02:24:26,657 FOR ME TO SEE AND PLAY KEYBOARD 4408 02:24:26,724 --> 02:24:28,393 IN THE HOSPITAL ROOM AS WE WERE 4409 02:24:28,459 --> 02:24:29,360 MAPPING THE MUSIC AND LANGUAGE 4410 02:24:29,427 --> 02:24:30,561 PARTS OF HIS BRAIN. 4411 02:24:30,628 --> 02:24:34,265 AND THERE ARE DIFFERENCES, AND 4412 02:24:34,332 --> 02:24:35,967 THE DIFFERENCES PRIMARILY WE SEE 4413 02:24:36,034 --> 02:24:38,036 ARE AROUND THESE AREAS THAT ARE 4414 02:24:38,102 --> 02:24:39,270 NOT SPECIFIC TO SPEECH OR 4415 02:24:39,337 --> 02:24:40,838 LANGUAGE, THE GENERAL AUDITORY, 4416 02:24:40,905 --> 02:24:41,706 BUT REALLY SOME OF THESE AREAS 4417 02:24:41,773 --> 02:24:44,142 THAT ARE ENCODING OUR LEARNED 4418 02:24:44,208 --> 02:24:46,477 KNOWLEDGE, THE MEMORY OF MUSIC 4419 02:24:46,544 --> 02:24:47,578 AND THE EXPECTATIONS THAT ARE 4420 02:24:47,645 --> 02:24:50,114 FORMED BY IT. 4421 02:24:50,181 --> 02:24:52,283 AND WE HAD ANOTHER INSTANCE THAT 4422 02:24:52,350 --> 02:24:56,621 I RECALL QUITE WELL OF A PASTOR 4423 02:24:56,687 --> 02:24:58,723 WHO UNFORTUNATELY HAD A BRAIN 4424 02:24:58,790 --> 02:25:00,224 TUMOR, AND WE HAD TO MAP OUT 4425 02:25:00,291 --> 02:25:01,926 THIS BRAIN TUMOR WITH HIM AWAKE 4426 02:25:01,993 --> 02:25:03,327 DURING SURGERY AND HE SAID, 4427 02:25:03,394 --> 02:25:05,630 DR. CHANG, THE ONE THING THAT I 4428 02:25:05,696 --> 02:25:07,799 REALLY NEED YOU TO DO IS PROTECT 4429 02:25:07,865 --> 02:25:09,667 MY ABILITY TO PLAY GUITAR. 4430 02:25:09,734 --> 02:25:12,370 BECAUSE EVERY SATURDAY, THIS IS 4431 02:25:12,437 --> 02:25:14,138 REALLY IMPORTANT PART OF MY 4432 02:25:14,205 --> 02:25:17,041 LIFE, AND I SHARE THIS WITH MY 4433 02:25:17,108 --> 02:25:17,475 CHURCH, ET CETERA. 4434 02:25:17,542 --> 02:25:18,576 SO IT WAS THE FIRST TIME THAT I 4435 02:25:18,643 --> 02:25:20,578 HAD BEEN ABLE TO HAVE SOMEONE 4436 02:25:20,645 --> 02:25:22,580 PLAY ACOUSTIC GUITAR IN THE 4437 02:25:22,647 --> 02:25:23,548 OPERATING ROOM WHILE WE WERE 4438 02:25:23,614 --> 02:25:25,083 DOING BRAIN SURGERY. 4439 02:25:25,149 --> 02:25:26,784 AND THE SCARY PART ABOUT IT FOR 4440 02:25:26,851 --> 02:25:28,753 ME, AT LEAST, WAS THAT NOT 4441 02:25:28,820 --> 02:25:29,854 KNOWING, YOU KNOW, THERE'S SO 4442 02:25:29,921 --> 02:25:31,856 MUCH TO LEARN ABOUT HOW MUSIC IS 4443 02:25:31,923 --> 02:25:32,957 PROCESSED IN THE BRAIN, WHERE IS 4444 02:25:33,024 --> 02:25:34,492 THAT PART OF THE BRAIN? 4445 02:25:34,559 --> 02:25:36,227 WHAT WAS THAT CRITICAL PART THAT 4446 02:25:36,294 --> 02:25:39,797 WE HAD TO PROTECT, YOU KNOW, AS 4447 02:25:39,864 --> 02:25:41,432 PART OF THE SURGERY. 4448 02:25:41,499 --> 02:25:42,233 AND ONE OF THE THINGS THAT WE 4449 02:25:42,300 --> 02:25:43,434 FOUND IN THIS PARTICULAR 4450 02:25:43,501 --> 02:25:45,670 INSTANCE WAS THE AREA THAT WAS 4451 02:25:45,736 --> 02:25:46,804 PROCESSING HIS WORDS ACTUALLY 4452 02:25:46,871 --> 02:25:49,073 WAS ALSO PROCESSING HIS MUSIC. 4453 02:25:49,140 --> 02:25:50,608 MEANING THAT THE SAME AREA THAT 4454 02:25:50,675 --> 02:25:53,811 WE STIMULATED THAT STOPPED HIM, 4455 02:25:53,878 --> 02:25:54,812 STOPPED HIS SPEECH TEMPORARILY 4456 02:25:54,879 --> 02:25:56,347 WHEN WE APPLIED A SMALL 4457 02:25:56,414 --> 02:25:59,784 ELECTRICAL STIMULATION AND 4458 02:25:59,851 --> 02:26:01,886 ARRESTED HIS SPEECH, ALSO 4459 02:26:01,953 --> 02:26:03,488 ARRESTED HIS GUITAR-PLAYING, 4460 02:26:03,554 --> 02:26:05,256 WHICH FUNDAMENTALLY CHANGED THE 4461 02:26:05,323 --> 02:26:08,926 WAY I THINK ABOUT HOW THESE TWO 4462 02:26:08,993 --> 02:26:12,363 FORMS OF COMMUNICATION CAN 4463 02:26:12,430 --> 02:26:12,697 OCCUR. 4464 02:26:12,763 --> 02:26:16,534 IT WAS SOMETHING THAT I HAD BEEN 4465 02:26:16,601 --> 02:26:19,804 TRAINED IN SOMETHING VERY 4466 02:26:19,871 --> 02:26:21,439 SPECIALIZED FOR LANGUAGE, AND IF 4467 02:26:21,506 --> 02:26:22,874 YOU ACTIVATE IT DURING SURGERY, 4468 02:26:22,940 --> 02:26:24,375 IT ACTUALLY INACTIVATES HIS 4469 02:26:24,442 --> 02:26:25,576 ABILITY TO PLAY GUITAR. 4470 02:26:25,643 --> 02:26:27,345 SO I COULDN'T SLEEP THAT NIGHT, 4471 02:26:27,411 --> 02:26:28,312 JUST THINKING HOW MUCH I'VE 4472 02:26:28,379 --> 02:26:29,447 LEARNED IN MEDICAL SCHOOL MIGHT 4473 02:26:29,514 --> 02:26:33,651 BE PARTIALLY WRONG. 4474 02:26:33,718 --> 02:26:36,721 THE BAROKA'S AREA IS NOT JUST A 4475 02:26:36,787 --> 02:26:37,421 LANGUAGE AREA, PER SE. 4476 02:26:37,488 --> 02:26:38,823 >> I'LL FOLLOW UP ON THAT 4477 02:26:38,890 --> 02:26:40,892 BECAUSE WE ALL KNOW THESE 4478 02:26:40,958 --> 02:26:43,060 AMAZING STORIES, HAD A STROKE, 4479 02:26:43,127 --> 02:26:45,863 AFFECTED BAROKA'S AREA BUT THEY 4480 02:26:45,930 --> 02:26:47,465 LEARNED TO SING EVEN THOUGH THEY 4481 02:26:47,532 --> 02:26:47,999 HAVE TROUBLE WITH SPEECH. 4482 02:26:48,065 --> 02:26:48,666 HOW DOES THAT WORK? 4483 02:26:48,733 --> 02:26:50,101 >> I DON'T KNOW AND I'D LOVE TO 4484 02:26:50,168 --> 02:26:51,836 HEAR FROM OTHERS. 4485 02:26:51,903 --> 02:26:53,337 YEAH. 4486 02:26:53,404 --> 02:26:54,205 IT'S TRUE, THOUGH. 4487 02:26:54,272 --> 02:26:56,073 AND THAT'S A REALLY IMPORTANT 4488 02:26:56,140 --> 02:26:56,707 THING. 4489 02:26:56,774 --> 02:26:59,010 >> WHAT FRANCIS IS REFERRING TO 4490 02:26:59,076 --> 02:27:01,045 IS MELODIC INTONATION THERAPY. 4491 02:27:01,112 --> 02:27:02,213 AND THE REASON THAT SEEMS TO 4492 02:27:02,280 --> 02:27:04,148 WORK IS THAT, YES, ALTHOUGH THEY 4493 02:27:04,215 --> 02:27:10,421 ARE OVERLAPPING AREAS, AT THE 4494 02:27:10,488 --> 02:27:11,489 SHOWED NEURAL CIRCUITS THAT 4495 02:27:11,556 --> 02:27:12,723 OVERLAPPED FUNCTION IN DIFFERENT 4496 02:27:12,790 --> 02:27:13,858 MODES, DEPENDING ON WHETHER IT'S 4497 02:27:13,925 --> 02:27:16,928 MUSIC OR LANGUAGE, WE'LL HAVE TO 4498 02:27:16,994 --> 02:27:18,362 RELY ON EDDIE TO SORT THAT OUT, 4499 02:27:18,429 --> 02:27:22,333 WHAT THAT MEANS, BUT THE IDEA OF 4500 02:27:22,400 --> 02:27:24,535 MELODIC INTONATION THERAPY LIKE 4501 02:27:24,602 --> 02:27:26,304 WITH CONGRESSWOMAN GIFFORDS WAS 4502 02:27:26,370 --> 02:27:27,905 THAT YOU'VE GOT SOME INTACT 4503 02:27:27,972 --> 02:27:29,173 CIRCUITS THAT ARE OVERLAPPING 4504 02:27:29,240 --> 02:27:30,508 WITH SOME THAT ARE DAMAGED, AND 4505 02:27:30,575 --> 02:27:33,344 YOU CAN SORT OF BOOTSTRAP 4506 02:27:33,411 --> 02:27:34,812 YOURSELF INTO RESTORING EITHER 4507 02:27:34,879 --> 02:27:36,180 THE DAMAGED CIRCUITS OR THERE'S 4508 02:27:36,247 --> 02:27:38,683 SO MUCH REDUNDANCY IN THE BRAIN, 4509 02:27:38,749 --> 02:27:40,418 YOU'RE ABLE TO TAP INTO 4510 02:27:40,484 --> 02:27:41,519 REDUNDANT CIRCUITS THAT WERE 4511 02:27:41,586 --> 02:27:44,155 LATENT AND LYING DORMANT. 4512 02:27:44,222 --> 02:27:46,123 >> WE HAVE SOMEONE WHO'S BEEN 4513 02:27:46,190 --> 02:27:56,467 VERY PATIENT AT THE SIDE MIC. 4514 02:27:56,534 --> 02:27:58,869 >> [INAUDIBLE] THE QUESTION IS 4515 02:27:58,936 --> 02:28:02,039 RELATED TO EXPECTANCY AND 4516 02:28:02,106 --> 02:28:06,244 EXPECTATIONS. 4517 02:28:06,310 --> 02:28:17,321 [INAUDIBLE] PANTS PAI ANTICIPATN 4518 02:28:18,155 --> 02:28:21,993 OUT COME RELATED TO EXPECTATION, 4519 02:28:22,059 --> 02:28:23,828 SO HOW MUCH -- EXPECT TO BENEFIT 4520 02:28:23,894 --> 02:28:24,695 FROM A MELODY. 4521 02:28:24,762 --> 02:28:26,764 SOMEHOW THIS IS NOT IMMEDIATELY 4522 02:28:26,831 --> 02:28:29,467 RELATED WITH THE AUDITORY 4523 02:28:29,533 --> 02:28:31,869 ENCODING OR -- FOR MUSIC. 4524 02:28:31,936 --> 02:28:34,939 CAN YOU COMMENT ON THIS, AND 4525 02:28:35,006 --> 02:28:41,212 SHOULD WE -- [INAUDIBLE] 4526 02:28:41,279 --> 02:28:44,015 EXPECTATIONS -- INDIVIDUAL 4527 02:28:44,081 --> 02:28:47,351 EXPECT FROM MUSIC [INAUDIBLE]. 4528 02:28:47,418 --> 02:28:49,520 >> YEAH, THAT'S A VERY GOOD 4529 02:28:49,587 --> 02:28:54,025 QUESTION. 4530 02:28:54,091 --> 02:28:54,358 >> [INAUDIBLE] 4531 02:28:54,425 --> 02:28:57,261 >> NOT REALLY, BUT -- 4532 02:28:57,328 --> 02:29:01,365 >> RAISE YOUR VOICE. 4533 02:29:01,432 --> 02:29:04,502 >> SO THE QUESTION IS ABOUT 4534 02:29:04,568 --> 02:29:12,310 SEPARATING EXPECT TAN EXPECTANCE 4535 02:29:12,376 --> 02:29:13,678 SCRIBE HOW WE CAN ANTICIPATE 4536 02:29:13,744 --> 02:29:15,946 PREDICTION OF A NOTE, AND 4537 02:29:16,013 --> 02:29:17,014 SEPARATE THE ENCODING OF PITCH 4538 02:29:17,081 --> 02:29:20,117 AND PITCH CHANGES FROM 4539 02:29:20,184 --> 02:29:21,419 EXPECTANCY OF SPECIALIZATION FOR 4540 02:29:21,485 --> 02:29:21,886 MUSIC. 4541 02:29:21,952 --> 02:29:25,256 BUT ALSO WE KNOW THAT EACH OF US 4542 02:29:25,323 --> 02:29:26,624 HAS AN EXPECTATION WHEN WE 4543 02:29:26,691 --> 02:29:31,329 LISTEN TO A MELODY, AND IF WE 4544 02:29:31,395 --> 02:29:33,998 HAVE SPIRITUAL AND EMOTIONAL 4545 02:29:34,065 --> 02:29:36,634 EX-PECKS TO MUSIC, SHOULD WE 4546 02:29:36,701 --> 02:29:38,069 STUDY BOTH THAT EFFICIENTLY MAY 4547 02:29:38,135 --> 02:29:41,572 BE DIFFERENT IN A MUSICIAN 4548 02:29:41,639 --> 02:29:43,274 VERSUS EXPECTATION OF AN 4549 02:29:43,341 --> 02:29:44,709 OUTCOME, EXPECTATION OF A MELODY 4550 02:29:44,775 --> 02:29:46,944 AS MEDICINE, AND IF SO, HOW CAN 4551 02:29:47,011 --> 02:29:49,246 WE ASSESS THIS KIND OF COGNITIVE 4552 02:29:49,313 --> 02:29:50,348 EXPECTATIONS THAT CHARACTERIZE 4553 02:29:50,414 --> 02:29:51,182 EACH PERSON? 4554 02:29:51,248 --> 02:29:56,153 >> LET ME TRY TO OFFER A 4555 02:29:56,220 --> 02:29:57,088 SPECULATION, BECAUSE I DON'T 4556 02:29:57,154 --> 02:30:00,358 KNOW, BUT WHAT WE REALLY STUDIED 4557 02:30:00,424 --> 02:30:03,427 WAS PROBABILITY -- FOLLOWING THE 4558 02:30:03,494 --> 02:30:05,029 NEXT IN THE CONTEXTUALLY OF A 4559 02:30:05,096 --> 02:30:07,231 SEQUENCE OF NOTES. 4560 02:30:07,298 --> 02:30:10,434 AND WHAT IT'S TELLING US IS THAT 4561 02:30:10,501 --> 02:30:13,671 SOME OF THESE VERY, VERY SMALL 4562 02:30:13,738 --> 02:30:15,072 SITES ARE REALLY JUST CARING 4563 02:30:15,139 --> 02:30:17,041 ABOUT THAT INSTANTANEOUS NOTE, 4564 02:30:17,108 --> 02:30:18,476 AND THEN THE OTHERS REALLY THAT 4565 02:30:18,542 --> 02:30:21,412 CHANGE IN THE NOTE AND THEN THE 4566 02:30:21,479 --> 02:30:24,448 OTHERS, IT ALMOST LIKE IT'S THE 4567 02:30:24,515 --> 02:30:28,085 PROBABILITY BASED ON OUR MEMORY 4568 02:30:28,152 --> 02:30:29,887 OF THAT SEQUENCE OF NOTES, NOT 4569 02:30:29,954 --> 02:30:31,322 THE INDIVIDUAL NOTES BUT THE 4570 02:30:31,389 --> 02:30:34,191 SEQUENCE OF THAT MELODY. 4571 02:30:34,258 --> 02:30:37,595 AND WHY THAT'S IMPORTANT IS 4572 02:30:37,661 --> 02:30:39,563 BECAUSE IT'S LINKED INTO 4573 02:30:39,630 --> 02:30:40,097 NOVELTY. 4574 02:30:40,164 --> 02:30:43,234 IT'S LINKED INTO STRUCTURE, AND 4575 02:30:43,300 --> 02:30:44,602 THOSE THINGS LINKED TO OTHER 4576 02:30:44,668 --> 02:30:45,636 BRAIN AREAS. 4577 02:30:45,703 --> 02:30:49,106 SO THINGS THAT WHEN SOMETHING 4578 02:30:49,173 --> 02:30:51,509 HAPPENS THAT'S UNPREDICTABLE, 4579 02:30:51,575 --> 02:30:52,476 THAT WILL ACTIVATE OTHER PARTS 4580 02:30:52,543 --> 02:30:53,277 OF THE BRAIN. 4581 02:30:53,344 --> 02:30:56,113 THE BASAL GANGLIA, THE REWARD 4582 02:30:56,180 --> 02:30:56,347 SYSTEMS. 4583 02:30:56,414 --> 02:30:57,515 THOSE ARE SIGNALS THAT THE BRAIN 4584 02:30:57,581 --> 02:31:00,684 USES ACTUALLY TO DERIVE 4585 02:31:00,751 --> 02:31:02,553 ATTENTION, REWARD, AND IT'S JUST 4586 02:31:02,620 --> 02:31:04,288 A SPECULATION THAT THERE MIGHT 4587 02:31:04,355 --> 02:31:06,056 BE SOME SHARED MECHANISMS, NOT 4588 02:31:06,123 --> 02:31:07,324 JUST BETWEEN SOUND, BUT ALL OF 4589 02:31:07,391 --> 02:31:09,593 OUR SENSES, ABOUT OUR 4590 02:31:09,660 --> 02:31:13,464 EXPECTATIONS AND HOW IT LINKS TO 4591 02:31:13,531 --> 02:31:14,432 INNER THINGS THAT MIGHT GIVE US 4592 02:31:14,498 --> 02:31:16,667 A SENSE TO WHY PEOPLE LIKE 4593 02:31:16,734 --> 02:31:20,404 CERTAIN TYPES OF MUSIC EVEN THAT 4594 02:31:20,471 --> 02:31:22,039 HAVE DIFFERENT PROBABILITY 4595 02:31:22,106 --> 02:31:22,606 STRUCTURE. 4596 02:31:22,673 --> 02:31:23,607 SO THAT'S JUST A FIRST LEVEL, 4597 02:31:23,674 --> 02:31:24,875 YOU KNOW, SORT OF SPECULATION. 4598 02:31:24,942 --> 02:31:26,177 >> SO TYING THIS ALL TOGETHER, 4599 02:31:26,243 --> 02:31:27,311 WE'RE ALL TRYING TO WORK FROM 4600 02:31:27,378 --> 02:31:29,313 THE LEVEL OF THE NEURON TO THE 4601 02:31:29,380 --> 02:31:32,383 LEVEL OF THE NOTE, AND VERN IS 4602 02:31:32,450 --> 02:31:34,018 TALKING ABOUT ENTIRE MUSICAL 4603 02:31:34,084 --> 02:31:34,251 PIECES. 4604 02:31:34,318 --> 02:31:34,785 >> ABSOLUTELY. 4605 02:31:34,852 --> 02:31:37,721 I WANT TO STUDY ABOUT MUSICAL 4606 02:31:37,788 --> 02:31:39,890 EXPECTATION, I WANT TO STUDY 4607 02:31:39,957 --> 02:31:40,090 BACH. 4608 02:31:40,157 --> 02:31:41,058 >> RIGHT. 4609 02:31:41,125 --> 02:31:42,426 AND EDDIE IS WORKING AT THE 4610 02:31:42,493 --> 02:31:43,961 LEVEL OF INDIVIDUAL NEURONS. 4611 02:31:44,028 --> 02:31:45,696 LISA HAS A LARGER SCALE OVERVIEW 4612 02:31:45,763 --> 02:31:48,799 OF HOW EXPECTATION AT A MORE 4613 02:31:48,866 --> 02:31:49,200 COGNITIVE LEVEL. 4614 02:31:49,266 --> 02:31:50,267 WOULD YOU LIKE TO JUMP IN? 4615 02:31:50,334 --> 02:31:51,001 >> SURE. 4616 02:31:51,068 --> 02:31:52,169 WELL, PEOPLE IN THE SCIENCE OF 4617 02:31:52,236 --> 02:31:53,938 MUSIC REALLY CARE ABOUT 4618 02:31:54,004 --> 02:31:54,772 EXPECTATION, YOU MIGHT HAVE 4619 02:31:54,839 --> 02:31:55,873 NOTICED THIS MORNING. 4620 02:31:55,940 --> 02:31:57,475 SO SOME OF THE STUDYS THAT HAVE 4621 02:31:57,541 --> 02:32:01,078 BEEN ABLE TO ISOLATE EMOTIONAL 4622 02:32:01,145 --> 02:32:02,613 EFFECTS IN NEUROIMAGING CON 4623 02:32:02,680 --> 02:32:04,448 TECHS, FOR EXAMPLE, DEPEND ON 4624 02:32:04,515 --> 02:32:06,217 MEASURING CHILLS, THE RESPONSES 4625 02:32:06,283 --> 02:32:07,485 PEOPLE HAVE, THEIR SKIN CRAWLS 4626 02:32:07,551 --> 02:32:10,421 AND HAIR STANDS ON END, AND YOU 4627 02:32:10,488 --> 02:32:11,655 CAN PREDICT TO A CERTAIN EXTENT 4628 02:32:11,722 --> 02:32:13,057 THE KIND OF MOMENT WHERE A 4629 02:32:13,123 --> 02:32:14,825 PERSON MIGHT HAVE THAT 4630 02:32:14,892 --> 02:32:16,594 EXPERIENCE. 4631 02:32:16,660 --> 02:32:18,562 AND IT'S MOMENTS WHERE SOMETHING 4632 02:32:18,629 --> 02:32:20,231 SURPRISING HAPPENS. 4633 02:32:20,297 --> 02:32:22,099 BUT PEOPLE HAVE TO KNOW ENOUGH 4634 02:32:22,166 --> 02:32:24,068 ABOUT THAT PARTICULAR STYLE AND 4635 02:32:24,134 --> 02:32:25,669 WHAT CONSTITUTES A SURPRISE 4636 02:32:25,736 --> 02:32:27,404 GIVEN THAT CONTEXT FOR THE WHOLE 4637 02:32:27,471 --> 02:32:31,542 EFFECT TO WORK. 4638 02:32:31,609 --> 02:32:32,543 SO THERE'S LOTS OF STUDYS THAT 4639 02:32:32,610 --> 02:32:34,345 HAVE LOOKED AT THE KINDS OF 4640 02:32:34,411 --> 02:32:34,979 EXPECTATIONS PEOPLE SUSTAIN 4641 02:32:35,045 --> 02:32:38,282 WHILE LISTENING AND SHOWING THAT 4642 02:32:38,349 --> 02:32:39,817 EVEN THESE NOTE TO NOTE ONES 4643 02:32:39,884 --> 02:32:41,585 LIKE EDDIE'S TALKING ABOUT CAN 4644 02:32:41,652 --> 02:32:42,520 CHANGE BASED ON GENRE. 4645 02:32:42,586 --> 02:32:44,188 SO A NOTE THAT MIGHT -- I MEAN, 4646 02:32:44,255 --> 02:32:45,723 THAT'S JUST WHAT SHELLY 4647 02:32:45,789 --> 02:32:46,223 DEMONSTRATED FOR US THIS 4648 02:32:46,290 --> 02:32:47,258 MORNING, I SUPPOSE. 4649 02:32:47,324 --> 02:32:48,425 AND THEN IN THE WORK THAT I WAS 4650 02:32:48,492 --> 02:32:52,062 TALKING ABOUT, THE KIND OF 4651 02:32:52,129 --> 02:32:53,264 SITUATION OR WHO PEOPLE THOUGHT 4652 02:32:53,330 --> 02:32:55,633 WAS MAKING THE SOUND INFLUENCED 4653 02:32:55,699 --> 02:32:58,769 HOW THEY WERE -- WHAT THEY WERE 4654 02:32:58,836 --> 02:33:00,471 EXPECTING TO HEAR AND WHAT THEY 4655 02:33:00,538 --> 02:33:01,105 WERE EXPECTING TO GET FROM IT. 4656 02:33:01,171 --> 02:33:02,473 SO I THINK YOU'RE EXACTLY RIGHT, 4657 02:33:02,540 --> 02:33:06,877 THAT IT'S NESTED AT ALL THESE 4658 02:33:06,944 --> 02:33:08,646 DIFFERENT HIRE ARCIC LEVELS. 4659 02:33:08,712 --> 02:33:13,317 >> SO FROM NEURONS TO NOTES TO 4660 02:33:13,384 --> 02:33:14,285 NOCTURNS, WE MIGHT SAY. 4661 02:33:14,351 --> 02:33:14,718 >> THANK YOU. 4662 02:33:14,785 --> 02:33:16,120 >> KEEPING THE FOCUS ON EDDIE 4663 02:33:16,186 --> 02:33:18,322 FOR A MINUTE, IF I COULD CALL 4664 02:33:18,389 --> 02:33:18,722 YOU EDDIE. 4665 02:33:18,789 --> 02:33:20,057 YOU'RE VERY POPULAR TODAY, 4666 02:33:20,124 --> 02:33:21,859 ALTHOUGH ALL THE TALKS WERE 4667 02:33:21,926 --> 02:33:22,259 FANTASTIC. 4668 02:33:22,326 --> 02:33:24,128 I'M SHIFTING GEARS A LITTLE BIT. 4669 02:33:24,194 --> 02:33:25,262 THE MUSIC-SPECIFIC REGIONS THAT 4670 02:33:25,329 --> 02:33:26,697 YOU'RE TALKING ABOUT, DO YOU 4671 02:33:26,764 --> 02:33:29,433 HAVE ANY SPECULATION ABOUT HOW 4672 02:33:29,500 --> 02:33:30,568 EVOLUTIONARY CONSERVED THEY ARE? 4673 02:33:30,634 --> 02:33:31,902 DO YOU FIND THEM IN OTHER 4674 02:33:31,969 --> 02:33:32,970 PRIMATES, DO YOU FIND THEM IN 4675 02:33:33,037 --> 02:33:33,604 DOGS? 4676 02:33:33,671 --> 02:33:34,939 OBVIOUSLY SONG BIRDS IS A WHOLE 4677 02:33:35,005 --> 02:33:36,373 SEPARATE CASE, BUT I'M 4678 02:33:36,440 --> 02:33:37,074 INTERESTED IN WHAT YOU KNOW 4679 02:33:37,141 --> 02:33:41,111 ABOUT EVOLUTION, IF ANYTHING. 4680 02:33:41,178 --> 02:33:44,381 >> I THINK THAT WHAT WE SEE 4681 02:33:44,448 --> 02:33:47,084 THERE MUST BE TRUE. 4682 02:33:47,151 --> 02:33:48,319 YOU KNOW, IF YOU THINK -- I 4683 02:33:48,385 --> 02:33:50,754 THINK ABOUT THIS IN THE CONTEXT 4684 02:33:50,821 --> 02:33:53,357 OF SPEECH, MIMI GAVE A GREAT 4685 02:33:53,424 --> 02:33:55,659 TALK ABOUT SONGBIRDS, LIKE THE 4686 02:33:55,726 --> 02:33:57,828 NOTES THEMSELVES HAVE NO 4687 02:33:57,895 --> 02:33:58,495 MEANING. 4688 02:33:58,562 --> 02:33:59,663 THE INDIVIDUAL PITCH OF A 4689 02:33:59,730 --> 02:34:02,433 CONSONANT OR VOWEL REALLY HAS NO 4690 02:34:02,499 --> 02:34:03,200 MEANING. 4691 02:34:03,267 --> 02:34:04,768 IT'S REALLY THESE HIGHER ORDER 4692 02:34:04,835 --> 02:34:06,403 ELEMENTS THAT ARE SEQUENCED 4693 02:34:06,470 --> 02:34:06,737 TOGETHER. 4694 02:34:06,804 --> 02:34:09,139 THAT'S WHERE THE MEANING IS 4695 02:34:09,206 --> 02:34:09,907 GENERATED. 4696 02:34:09,974 --> 02:34:11,709 SO I KNOW IT MUST BE TRUE THAT 4697 02:34:11,775 --> 02:34:13,611 IT MUST BE CONSERVED BECAUSE 4698 02:34:13,677 --> 02:34:18,215 MANY ORGANISMS USE THESE SIGNALS 4699 02:34:18,282 --> 02:34:19,583 AS COMMUNICATION-DERIVED 4700 02:34:19,650 --> 02:34:21,418 MEANING, AND MUST BE -- I THINK 4701 02:34:21,485 --> 02:34:23,320 IF ANYTHING WHAT WE SEE MUST BE 4702 02:34:23,387 --> 02:34:24,488 ANALOGOUS PROBABLY, BUT WE 4703 02:34:24,555 --> 02:34:26,023 HAVEN'T LOOKED AT THAT DIRECTLY 4704 02:34:26,090 --> 02:34:27,224 IN OTHER ORGANISMS. 4705 02:34:27,291 --> 02:34:28,826 I'D LOVE TO HEAR FROM MIMI MAYBE 4706 02:34:28,892 --> 02:34:29,960 IF THAT'S TRUE OR NOT. 4707 02:34:30,027 --> 02:34:32,162 >> I GUESS I WAS TRYING TO THINK 4708 02:34:32,229 --> 02:34:36,266 ABOUT ERIC JARVIS' WORK, HE 4709 02:34:36,333 --> 02:34:38,135 STUDIES SONGBIRDS, ALL SORTS OF 4710 02:34:38,202 --> 02:34:38,869 VOCAL LEARNING ANIMALS. 4711 02:34:38,936 --> 02:34:41,405 ONE OF HIS IDEAS IS THAT THE 4712 02:34:41,472 --> 02:34:42,373 SPECIALIZATIONINGS FOR VOCAL 4713 02:34:42,439 --> 02:34:46,710 LEARNING THAT I TALKED ABOUT 4714 02:34:46,777 --> 02:34:47,778 RIGHT OUTSIDE THOSE REGIONS, 4715 02:34:47,845 --> 02:34:48,946 RIGHT NEXT TO THEM, THERE ARE 4716 02:34:49,013 --> 02:34:50,280 OTHER REGIONS THAT TALK TO ONE 4717 02:34:50,347 --> 02:34:53,684 ANOTHER IN KIND OF A PARALLEL 4718 02:34:53,751 --> 02:34:54,685 CIRCUIT, AND HIS IDEA IS THAT 4719 02:34:54,752 --> 02:34:56,086 THOSE REGIONS ARE SPECIALIZED 4720 02:34:56,153 --> 02:34:58,622 FOR MOVEMENTS, PERHAPS RHYTHMIC 4721 02:34:58,689 --> 02:35:00,557 MOVEMENTS LIKE DANCE. 4722 02:35:00,624 --> 02:35:04,928 SO THAT TAP INTO KIND OF THE 4723 02:35:04,995 --> 02:35:08,032 SAME SENSE OF TEMPORAL PRECISION 4724 02:35:08,098 --> 02:35:09,299 AND SYNCHRONY ACROSS LOTS OF 4725 02:35:09,366 --> 02:35:14,972 DIFFERENT AREAS AND SO I GUESS 4726 02:35:15,039 --> 02:35:16,173 SONGBIRDS PEOPLE, VOCAL LEARNERS 4727 02:35:16,240 --> 02:35:18,809 ARE UNIQUE IN THAT THEY HAVE 4728 02:35:18,876 --> 02:35:22,780 EVOLVED THESE AREAS THAT ARE 4729 02:35:22,846 --> 02:35:24,782 SPECIALIZED FOR HEARING, 4730 02:35:24,848 --> 02:35:26,216 LISTENING, PRODUCING THESE 4731 02:35:26,283 --> 02:35:29,153 BEHAVIORS, BUT IT COULD -- OTHER 4732 02:35:29,219 --> 02:35:31,655 REGIONS COULD BE INVOLVED IN 4733 02:35:31,722 --> 02:35:34,425 SIMILARLY RHYTHMIC BEHAVIORS 4734 02:35:34,491 --> 02:35:37,594 THAT ARE NOT VOCAL OR 4735 02:35:37,661 --> 02:35:37,928 SOUND-RELATED. 4736 02:35:37,995 --> 02:35:39,530 >> IT WOULD BE FASCINATING IF 4737 02:35:39,596 --> 02:35:40,531 EVOLUTION NARELY, YOU COULD 4738 02:35:40,597 --> 02:35:45,269 FIGURE OUT WHAT THE ER FUNCTION 4739 02:35:45,335 --> 02:35:46,670 IS, HOW FAR BACK THEY GO, BUT 4740 02:35:46,737 --> 02:35:47,237 THANKS A LOT. 4741 02:35:47,304 --> 02:35:48,372 >> IT ALSO IMPORTANT TO 4742 02:35:48,439 --> 02:35:50,941 RECOGNIZE THAT RHYTHM AND PITCH 4743 02:35:51,008 --> 02:35:53,010 ARE NOT ENTIRELY DISTINCT. 4744 02:35:53,077 --> 02:35:55,412 IT MIGHT PLAY YOU A -- IF I PLAY 4745 02:35:55,479 --> 02:36:00,184 YOU A SERIES OF TONES, NOISE 4746 02:36:00,250 --> 02:36:01,919 BURSTS, CLICKS, FAST ENOUGH, 4747 02:36:01,985 --> 02:36:03,420 THEY BECOME PITCHED. 4748 02:36:03,487 --> 02:36:05,656 SO IT'S NOT A DICHOTOMY AS IT'S 4749 02:36:05,723 --> 02:36:10,160 OFTEN THOUGHT. 4750 02:36:10,227 --> 02:36:11,762 >> BUT JUST BACK TO YOUR 4751 02:36:11,829 --> 02:36:13,731 QUESTION, IT MAKES ME CONTINUE 4752 02:36:13,797 --> 02:36:15,599 TO WONDER WHEN WE FIRST SAW 4753 02:36:15,666 --> 02:36:16,767 THIS, IT WAS ACTUALLY ALMOST 4754 02:36:16,834 --> 02:36:21,839 HARD TO BELIEVE, THAT WE OFTEN 4755 02:36:21,905 --> 02:36:23,140 TIME HAVE THIS IDEA THAT 4756 02:36:23,207 --> 02:36:24,074 AUDITORY CORTEX IS ALMOST LIKE 4757 02:36:24,141 --> 02:36:25,609 THE KEYS ON A PIANO. 4758 02:36:25,676 --> 02:36:26,510 YOU HAVE THESE DIFFERENT 4759 02:36:26,577 --> 02:36:27,711 LOCATIONS THAT ARE TUNED TO 4760 02:36:27,778 --> 02:36:29,246 DIFFERENT SOUNDS, BUT DO YOU 4761 02:36:29,313 --> 02:36:32,049 HAVE A KEY FOR A WHOLE SEQUENCE 4762 02:36:32,116 --> 02:36:32,516 OF SOUNDS? 4763 02:36:32,583 --> 02:36:33,917 THAT'S WHAT WE'RE STARTING TO 4764 02:36:33,984 --> 02:36:36,220 SEE, THAT THERE'S ONE KEY THERE 4765 02:36:36,286 --> 02:36:40,891 THAT IS LIKE A MEMORY OF A SOUND 4766 02:36:40,958 --> 02:36:42,226 PROBABILITY. 4767 02:36:42,292 --> 02:36:44,862 SO HOW THAT CAN HAPPEN, LIKE HOW 4768 02:36:44,928 --> 02:36:47,397 A NEURON OR A SET OF NEURONS 4769 02:36:47,464 --> 02:36:50,167 COULD EMBED MEMORY LIKE THAT IS 4770 02:36:50,234 --> 02:36:51,401 A DEEP, DEEP INTERESTING 4771 02:36:51,468 --> 02:36:51,668 QUESTION. 4772 02:36:51,735 --> 02:36:56,340 YEAH. 4773 02:36:56,406 --> 02:36:59,276 >> FIRST OF ALL, THIS IS 4774 02:36:59,343 --> 02:36:59,877 INCREDIBLE. 4775 02:36:59,943 --> 02:37:03,313 I MEAN, I'M A VOICE GUY. 4776 02:37:03,380 --> 02:37:07,818 IT'S REALLY EXCITING TO HEAR 4777 02:37:07,885 --> 02:37:11,388 WHAT HAS BEEN REALIZED IN TERMS 4778 02:37:11,455 --> 02:37:15,359 OF BRINGING MUSIC TO SPOKEN 4779 02:37:15,425 --> 02:37:17,027 WORD, TO WORD, AND WHAT HAPPENS 4780 02:37:17,094 --> 02:37:19,062 IN THE BRAIN. 4781 02:37:19,129 --> 02:37:22,900 I WONDER HOW MUCH RESEARCH OR 4782 02:37:22,966 --> 02:37:25,636 HOW MUCH DELVING INTO CULTURES 4783 02:37:25,702 --> 02:37:28,472 THAT JUST INSTINCTIVELY DO THAT. 4784 02:37:28,539 --> 02:37:31,041 YOU KNOW, I MEAN, THIS IS -- I 4785 02:37:31,108 --> 02:37:32,976 MEAN, I HAD A VERY INTERESTING 4786 02:37:33,043 --> 02:37:34,678 EXPERIENCE AS A CHILD, I GREW UP 4787 02:37:34,745 --> 02:37:35,279 IN SITUATIONS WHERE I DIDN'T 4788 02:37:35,345 --> 02:37:36,513 HAVE A LOT OF PEOPLE HOLDING ME 4789 02:37:36,580 --> 02:37:39,049 AND STUFF, SO I HUMMED ALL THE 4790 02:37:39,116 --> 02:37:39,650 TIME. 4791 02:37:39,716 --> 02:37:40,984 IT WAS LIKE SOUND IS HOW I PUT 4792 02:37:41,051 --> 02:37:42,719 MYSELF TO SLEEP, SOUND IS HOW I 4793 02:37:42,786 --> 02:37:43,253 FUNCTIONED. 4794 02:37:43,320 --> 02:37:45,322 SO WHEN I WAS -- BEGAN TO BE 4795 02:37:45,389 --> 02:37:46,557 INTRODUCED TO SPEAKING, IT WAS 4796 02:37:46,623 --> 02:37:48,058 WAY MORE COMFORTABLE FOR ME TO 4797 02:37:48,125 --> 02:37:49,626 SING WHAT I WAS THINKING THAN TO 4798 02:37:49,693 --> 02:37:50,694 SAY WHAT I WAS THINKING, BECAUSE 4799 02:37:50,761 --> 02:37:52,663 I FELT IT FROM THE INSIDE OUT. 4800 02:37:52,729 --> 02:37:57,134 IF YOU LOOK AT A LOT OF THE WEST 4801 02:37:57,201 --> 02:38:00,070 AFRICAN CULTURES, YOU KNOW, THE 4802 02:38:00,137 --> 02:38:02,573 MELODIC NARRATIVE IS A REALLY, 4803 02:38:02,639 --> 02:38:04,107 REALLY IMPORTANT PART, IT'S HOW 4804 02:38:04,174 --> 02:38:05,742 WE TEACH HISTORY, IT'S HOW THAT 4805 02:38:05,809 --> 02:38:07,177 WHOLE THING HAPPENED. 4806 02:38:07,244 --> 02:38:11,648 SO I JUST WONDER HOW MUCH OF A 4807 02:38:11,715 --> 02:38:13,817 REACH INTO JUST EXPLORING SOME 4808 02:38:13,884 --> 02:38:16,687 OF THOSE INDIGENOUS CULTURES, 4809 02:38:16,753 --> 02:38:18,055 THAT THAT'S JUST AN INSTINCTIVE 4810 02:38:18,121 --> 02:38:19,957 PART OF A WAY OF BEING, YOU 4811 02:38:20,023 --> 02:38:20,624 KNOW? 4812 02:38:20,691 --> 02:38:21,692 IT'S NOT SEPARATE FROM BUT IT'S 4813 02:38:21,758 --> 02:38:26,230 A WAY OF BEING, THE M MELODIC 4814 02:38:26,296 --> 02:38:28,398 NARRATIVE COMMUNITIES WOULD COME 4815 02:38:28,465 --> 02:38:30,667 TOGETHER AND SING TOGETHER, 4816 02:38:30,734 --> 02:38:32,135 DANCE TOGETHER AND CREATE MUSIC 4817 02:38:32,202 --> 02:38:33,003 TOGETHER BECAUSE SOMEONE ELSE 4818 02:38:33,070 --> 02:38:34,271 STATED EARLIER, WHEN YOU DO 4819 02:38:34,338 --> 02:38:35,572 THAT, YOU KNOW, IT'S LIKE 4820 02:38:35,639 --> 02:38:36,673 THERE'S A COHERENCE THAT 4821 02:38:36,740 --> 02:38:37,074 HAPPENS. 4822 02:38:37,140 --> 02:38:39,009 YOU KNOW, YOUR VOICES COME 4823 02:38:39,076 --> 02:38:39,977 TOGETHER. 4824 02:38:40,043 --> 02:38:41,712 SO SOME OF THESE NATURAL 4825 02:38:41,778 --> 02:38:42,012 INSTINCTS. 4826 02:38:42,079 --> 02:38:43,480 AND FOR ME, I THINK THAT THAT'S 4827 02:38:43,547 --> 02:38:45,716 THE MOST POWERFUL THING WHERE 4828 02:38:45,782 --> 02:38:47,684 SCIENCE AND RESEARCH WERE REALLY 4829 02:38:47,751 --> 02:38:49,586 LEARNING THE INTRICACIES OF 4830 02:38:49,653 --> 02:38:51,989 THIS, SO THAT FROM A PRACTICAL 4831 02:38:52,055 --> 02:38:53,924 APPLICATION STANDPOINT OF VIEW, 4832 02:38:53,991 --> 02:38:56,426 LIKE I'VE BEEN IN SITUATIONS 4833 02:38:56,493 --> 02:38:58,495 WHERE IN A CLINICAL SETTING, 4834 02:38:58,562 --> 02:38:59,596 WORKING WITH SOMEONE WHO'S IN 4835 02:38:59,663 --> 02:39:01,064 THE HOSPITAL, HAVING A 4836 02:39:01,131 --> 02:39:03,767 CONVERSATION WITH THEM, AND THEN 4837 02:39:03,834 --> 02:39:05,736 TURNING THEIR CONVERSATION INTO 4838 02:39:05,802 --> 02:39:07,804 MUSIC, ALL OF A SUDDEN THEY 4839 02:39:07,871 --> 02:39:08,338 AWAKEN IN A DIFFERENT WAY. 4840 02:39:08,405 --> 02:39:09,773 SO I JUST REALLY FEEL LIKE 4841 02:39:09,840 --> 02:39:12,676 THERE'S SO MUCH THAT CAN HAPPEN 4842 02:39:12,743 --> 02:39:14,211 IN TERMS OF GETTING TO THE POINT 4843 02:39:14,278 --> 02:39:16,680 WHEREAS ARTISTS, WE PRACTICALLY 4844 02:39:16,747 --> 02:39:19,182 APPLY WHAT WE CAN LEARN AND KNOW 4845 02:39:19,249 --> 02:39:21,718 AND UNDERSTAND FROM YOU ALL, AND 4846 02:39:21,785 --> 02:39:24,788 SOME OF THIS IS AS OLD AS TIME. 4847 02:39:24,855 --> 02:39:26,189 RIGHT? 4848 02:39:26,256 --> 02:39:27,424 I GUESS THAT WASN'T A QUESTION. 4849 02:39:27,491 --> 02:39:30,060 [APPLAUSE] 4850 02:39:30,127 --> 02:39:31,395 >> YOU KNOW, I WANT TO SAY AT 4851 02:39:31,461 --> 02:39:32,529 THE BEGINNING OF MY THING WHEN 4852 02:39:32,596 --> 02:39:33,730 WE STARTED THIS MORNING, I 4853 02:39:33,797 --> 02:39:35,499 MENTIONED THAT I WAS AT A 4854 02:39:35,565 --> 02:39:37,668 CONFERENCE HERE 27 YEARS AGO IN 4855 02:39:37,734 --> 02:39:38,035 WASHINGTON, D.C. 4856 02:39:38,101 --> 02:39:40,003 IT WAS ALL ABOUT MUSIC ADVOCACY 4857 02:39:40,070 --> 02:39:42,139 IN THE SCHOOLS AND HOW MUCH 4858 02:39:42,205 --> 02:39:43,307 MUSIC HAD BEEN TAKEN OUT OF THE 4859 02:39:43,373 --> 02:39:45,575 SCHOOLS AT THAT TIME. 4860 02:39:45,642 --> 02:39:47,878 AND ONE OF THE LAMENTATIONS AT 4861 02:39:47,945 --> 02:39:49,813 THAT CONFERENCE WAS THAT OUR 4862 02:39:49,880 --> 02:39:52,049 COUNTRY, UNITED STATES, DOESN'T 4863 02:39:52,115 --> 02:39:55,919 HAVE AS MUCH SHARED SONG THAT 4864 02:39:55,986 --> 02:39:57,621 EVERYBODY KNOWS, THAT EVERYBODY 4865 02:39:57,688 --> 02:39:59,356 LEARNS, THAT UNIFIES AND BINDS 4866 02:39:59,423 --> 02:40:02,392 US, AND I MIGHT SAY -- I MIGHT 4867 02:40:02,459 --> 02:40:03,827 POSIT THAT 27 YEARS LATER, WE'RE 4868 02:40:03,894 --> 02:40:14,204 FEELING THE EFFECTS OF THAT. 4869 02:40:14,271 --> 02:40:17,374 >> THIS IS REALLY, I THINK A 4870 02:40:17,441 --> 02:40:17,874 REALLY IMPORTANT THING. 4871 02:40:17,941 --> 02:40:18,909 I MEAN, YOU KNOW, IN THE 50s 4872 02:40:18,976 --> 02:40:20,577 AND IN THE 60s, WE ALL 4873 02:40:20,644 --> 02:40:22,346 LISTENED TO THE SAME MUSIC. 4874 02:40:22,412 --> 02:40:24,848 YOU KNOW, I GREW UP IN NEW 4875 02:40:24,915 --> 02:40:27,250 JERSEY SO ON WABC, YOU HEARD THE 4876 02:40:27,317 --> 02:40:28,418 BEATLES, YOU HEARD THE ROLLING 4877 02:40:28,485 --> 02:40:29,553 STONES, YOU HEARD THE 4878 02:40:29,619 --> 02:40:31,955 TEMPTATIONS, YOU HEARD MARIO 4879 02:40:32,022 --> 02:40:32,155 LANZA. 4880 02:40:32,222 --> 02:40:33,490 WE ALL HEARD THE SAME KIND OF 4881 02:40:33,557 --> 02:40:34,224 MUSIC. 4882 02:40:34,291 --> 02:40:35,425 WE ALL DANCED TO THE SAME KIND 4883 02:40:35,492 --> 02:40:36,560 OF MUSIC. 4884 02:40:36,626 --> 02:40:37,327 THERE WAS A WHOLE BUNCH OF OTHER 4885 02:40:37,394 --> 02:40:38,695 STUFF GOING ON, BUT THE REALITY 4886 02:40:38,762 --> 02:40:40,263 OF THE THING IS THAT WE DID HAVE 4887 02:40:40,330 --> 02:40:41,365 THAT COMMONALITY. 4888 02:40:41,431 --> 02:40:44,101 YOU KNOW, AND THEN WHEN WE MOVED 4889 02:40:44,167 --> 02:40:46,703 INTO THE 60s AND 70s, YOU 4890 02:40:46,770 --> 02:40:48,472 KNOW, THERE WERE SONGS, THERE 4891 02:40:48,538 --> 02:40:51,308 WERE SONGS ABOUT WAR AND POLL 4892 02:40:51,375 --> 02:40:53,076 POLITICS AND WHAT WAS GOING ON, 4893 02:40:53,143 --> 02:40:54,444 WE HAD THOSE KIND OF 4894 02:40:54,511 --> 02:40:55,145 CONVERSATIONS, AND THOSE ARE NOT 4895 02:40:55,212 --> 02:40:55,812 HAPPENING NOW. 4896 02:40:55,879 --> 02:40:57,781 SO I THINK YOU'RE ABSOLUTELY 4897 02:40:57,848 --> 02:40:58,115 RIGHT, SHELLY. 4898 02:40:58,181 --> 02:41:00,617 I MEAN, THAT DIVISION, YOU KNOW, 4899 02:41:00,684 --> 02:41:02,919 IS ANOTHER THING FOR US TO THINK 4900 02:41:02,986 --> 02:41:04,654 ABOUT. 4901 02:41:04,721 --> 02:41:06,223 WHAT'S OUR COMMON MELODIC 4902 02:41:06,289 --> 02:41:06,757 LANGUAGE? 4903 02:41:06,823 --> 02:41:07,958 WHAT'S THE COMMONALITY, YOU 4904 02:41:08,025 --> 02:41:09,726 KNOW, THAT WE HAVE TOGETHER, 4905 02:41:09,793 --> 02:41:11,461 BECAUSE THAT'S WHAT I -- I 4906 02:41:11,528 --> 02:41:12,963 BELIEVE THAT'S WHAT BUILDS THE 4907 02:41:13,030 --> 02:41:15,732 BRIDGE BETWEEN WHAT AS ARTISTS 4908 02:41:15,799 --> 02:41:17,034 WE DESIRE TO DO AND WHAT WE CAN 4909 02:41:17,100 --> 02:41:19,536 KNOW SO THAT WE CAN PRACTICALLY 4910 02:41:19,603 --> 02:41:21,138 APPLY ALONG WITH OUR COLLEAGUES 4911 02:41:21,204 --> 02:41:23,573 WHO ARE THERAPISTS SO THAT YOU 4912 02:41:23,640 --> 02:41:25,876 HAVE THAT SPECIFIC THERAPEUTIC 4913 02:41:25,942 --> 02:41:27,411 SETTING, BUT COMMUNALLY, WE 4914 02:41:27,477 --> 02:41:30,781 UNDERSTAND AND WE EMBRACE THE 4915 02:41:30,847 --> 02:41:31,815 OPPORTUNITY TO BUILD THAT BRIDGE 4916 02:41:31,882 --> 02:41:32,983 SO THAT WE CAN MOVE FORWARD 4917 02:41:33,050 --> 02:41:34,584 TOGETHER. 4918 02:41:34,651 --> 02:41:36,386 >> I HAVE A QUICK RELATED 4919 02:41:36,453 --> 02:41:38,021 THOUGHT THAT SPEAKS TO MUSIC 4920 02:41:38,088 --> 02:41:38,822 EDUCATION. 4921 02:41:38,889 --> 02:41:41,058 I SHOULD BE CAREFUL ABOUT WADING 4922 02:41:41,124 --> 02:41:42,726 INTO MUSIC EDUCATION AS SOMEONE 4923 02:41:42,793 --> 02:41:47,664 WHO ISN'T AN EDUCATOR, BUT YOU 4924 02:41:47,731 --> 02:41:49,666 SPOKE ABOUT CULTURES WHERE MUSIC 4925 02:41:49,733 --> 02:41:51,601 JUST FLOWS OUT OF US AND WE ALL 4926 02:41:51,668 --> 02:41:52,502 SING TOGETHER AND WE DANCE 4927 02:41:52,569 --> 02:41:53,937 TOGETHER. 4928 02:41:54,004 --> 02:41:58,041 THERE IS SOMETHING IN THE WEST, 4929 02:41:58,108 --> 02:41:59,242 MAYBE OTHER PLACES AS WELL, 4930 02:41:59,309 --> 02:42:02,112 WHERE WE HAVE A KIND OF 4931 02:42:02,179 --> 02:42:03,513 HIERARCHY, WHERE CERTAIN PEOPLE 4932 02:42:03,580 --> 02:42:06,016 ARE RECOGNIZED AS HAVING GIFTS 4933 02:42:06,083 --> 02:42:08,251 AND THEY'RE CHANNELED INTO 4934 02:42:08,318 --> 02:42:09,119 SPECIAL TRAINING OPPORTUNITIES, 4935 02:42:09,186 --> 02:42:10,987 AND THAT SHOULD HAPPEN. 4936 02:42:11,054 --> 02:42:12,689 LIKE -- IT'S GREAT TO EXPERIENCE 4937 02:42:12,756 --> 02:42:16,126 THIS ELITE LEVEL OF MUSIC. 4938 02:42:16,193 --> 02:42:17,294 BUT IF THERE'S SOMETHING WE CAN 4939 02:42:17,360 --> 02:42:20,964 DO TO FIND THAT M MUSICALITY 4940 02:42:21,031 --> 02:42:22,866 THROUGH ALL OF US THROUGH 4941 02:42:22,933 --> 02:42:24,201 EDUCATION, THAT'S EXTREMELY 4942 02:42:24,267 --> 02:42:24,468 VALUABLE. 4943 02:42:24,534 --> 02:42:25,268 SOME OF THE INTERVENTION WORK 4944 02:42:25,335 --> 02:42:28,238 THAT WE DO INVOLVES OLDER ADULTS 4945 02:42:28,305 --> 02:42:29,973 THAT DON'T -- NEVER SANG, NEVER 4946 02:42:30,040 --> 02:42:32,042 PLAYED AN INSTRUMENT, AND SOME 4947 02:42:32,109 --> 02:42:34,678 OF THE WORK IS JUST BREAKING 4948 02:42:34,744 --> 02:42:36,413 THEM OUT OF, I CAN'T DO THIS. 4949 02:42:36,480 --> 02:42:37,981 LIKE, I'M NOT A MUSICIAN. 4950 02:42:38,048 --> 02:42:40,350 YES, YOU ARE A MUSICIAN. 4951 02:42:40,417 --> 02:42:41,685 WE ARE ALL MUSICIANS. 4952 02:42:41,751 --> 02:42:43,053 YOU'VE JUST GOT TO FIND THAT. 4953 02:42:43,120 --> 02:42:45,388 >> THERE'S AN -- SO WE WERE 4954 02:42:45,455 --> 02:42:46,590 TALKING ABOUT EVOLUTION JUST A 4955 02:42:46,656 --> 02:42:47,891 FEW MOMENTS AGO. 4956 02:42:47,958 --> 02:42:49,793 ACROSS EVOLUTIONARY HISTORY, 4957 02:42:49,860 --> 02:42:51,394 HOWEVER LONG IT IS, YOU WANT TO 4958 02:42:51,461 --> 02:42:52,596 SAY THAT HUMANS HAVE BEEN 4959 02:42:52,662 --> 02:42:55,132 AROUND, YOU CAN SAY 40,000, 4960 02:42:55,198 --> 02:42:56,399 200,000 YEARS, DEPENDING ON HOW 4961 02:42:56,466 --> 02:42:58,168 YOU DRAW IT, BUT FOR ALMOST ALL 4962 02:42:58,235 --> 02:43:01,204 THAT TIME, EVERYBODY WAS 4963 02:43:01,271 --> 02:43:02,772 INVOLVED IN MUSIC. 4964 02:43:02,839 --> 02:43:04,508 EVERY LISTENED TO THE SAME SONGS 4965 02:43:04,574 --> 02:43:06,243 AND EVERYBODY SANG ALONG. 4966 02:43:06,309 --> 02:43:08,778 MUSIC WAS PARTICIPATORY, IT WAS 4967 02:43:08,845 --> 02:43:09,312 UNIVERSAL. 4968 02:43:09,379 --> 02:43:11,548 IT WAS ABOUT 500 YEARS AGO WITH 4969 02:43:11,615 --> 02:43:12,849 THE CONSTRUCTION OF THE FIRST 4970 02:43:12,916 --> 02:43:15,652 CONCERT HALLS IN EUROPE, WE 4971 02:43:15,719 --> 02:43:16,887 CREATED THIS SPECIAL CLASS THAT 4972 02:43:16,953 --> 02:43:18,488 FRANK ALLUDED TO OF THE EXPERTS 4973 02:43:18,555 --> 02:43:22,626 THAT WHI WE WOULD PAY TO PLAY -- 4974 02:43:22,692 --> 02:43:24,161 >> OR THE CHURCH. 4975 02:43:24,227 --> 02:43:27,664 >> YOU NEVER HEAR ANYBODY SAY, 4976 02:43:27,731 --> 02:43:29,566 I'M NO MARTIN LUTHER KING SO I'M 4977 02:43:29,633 --> 02:43:30,267 NOT GOING TO TALK TO YOU. 4978 02:43:30,333 --> 02:43:34,938 WITBUT YOU HEAR PEOPLE SAY, I'MO 4979 02:43:35,005 --> 02:43:35,972 RENEE FLEMING SO I'M NOT GOING 4980 02:43:36,039 --> 02:43:36,506 TO SING. 4981 02:43:36,573 --> 02:43:38,909 HOW COULD I POSSIBLY, YOU KNOW, 4982 02:43:38,975 --> 02:43:40,110 DARE TO SING? 4983 02:43:40,177 --> 02:43:42,846 AND YET IT GOES AGAINST OUR 4984 02:43:42,913 --> 02:43:44,714 EVOLUTIONARY CULTURE NOT TO HAVE 4985 02:43:44,781 --> 02:43:46,283 IT -- AND NOBODY SAYS I'M NO 4986 02:43:46,349 --> 02:43:47,350 MICHAEL JORDAN SO I'M NOT GOING 4987 02:43:47,417 --> 02:43:48,585 TO PLAY BASKETBALL. 4988 02:43:48,652 --> 02:43:51,054 MUSIC HAS THIS FUNNY LITTLE 4989 02:43:51,121 --> 02:43:52,422 THING, CULTURALLY, WHERE WE FEEL 4990 02:43:52,489 --> 02:43:54,691 THAT WE CAN'T PARTICIPATE. 4991 02:43:54,758 --> 02:43:56,293 WE'RE EMBARRASSED OR SOMETHING. 4992 02:43:56,359 --> 02:43:57,761 AS VICTOR IS SAYING, MUSIC 4993 02:43:57,827 --> 02:43:59,930 DOESN'T WANT IT THAT WAY. 4994 02:43:59,996 --> 02:44:01,798 >> WE HAVE TIME FOR ONE MORE 4995 02:44:01,865 --> 02:44:02,999 QUESTION. 4996 02:44:03,066 --> 02:44:03,733 >> WOW. 4997 02:44:03,800 --> 02:44:04,000 OKAY. 4998 02:44:04,067 --> 02:44:05,635 SO I GET TO CLOSE WITH -- 4999 02:44:05,702 --> 02:44:06,937 >> MAYBE TWO. 5000 02:44:07,003 --> 02:44:12,375 >> OKAY. 5001 02:44:12,442 --> 02:44:13,944 SO I WANTED TO CONTINUE KIND OF 5002 02:44:14,010 --> 02:44:16,379 ON THE SAME THEME, WHICH IS SORT 5003 02:44:16,446 --> 02:44:19,950 OF THIS EVOLUTIONARY POWER OF WE 5004 02:44:20,016 --> 02:44:22,152 HAVE THOUSANDS OF YEARS AND A 5005 02:44:22,219 --> 02:44:23,520 SENSE OF HISTORY ABOUT GREAT 5006 02:44:23,587 --> 02:44:27,123 PIECES OF MUSIC. 5007 02:44:27,190 --> 02:44:28,758 AND KIND OF MY OBSERVATION AT 5008 02:44:28,825 --> 02:44:29,826 LEAST FROM THINGS PRESENTED 5009 02:44:29,893 --> 02:44:31,561 TODAY, FROM AN ENGINEERING POINT 5010 02:44:31,628 --> 02:44:32,729 OF VIEW, A LOT OF PEOPLE ARE 5011 02:44:32,796 --> 02:44:33,730 WORKING ON WHAT WE CALL THE 5012 02:44:33,797 --> 02:44:34,231 FORWARD PROBLEM. 5013 02:44:34,297 --> 02:44:36,733 SO NOTES OR TONES OR SOUNDS, AND 5014 02:44:36,800 --> 02:44:38,802 THEN MEASURE SOMETHING IN THE 5015 02:44:38,868 --> 02:44:39,002 BRAIN. 5016 02:44:39,069 --> 02:44:41,271 TO WHAT EXTENT ARE PEOPLE 5017 02:44:41,338 --> 02:44:44,107 WORKING MORE ON THE INVERSE 5018 02:44:44,174 --> 02:44:44,441 PROBLEM? 5019 02:44:44,507 --> 02:44:46,209 SO WE HAVE ALL OF THIS BODY OF 5020 02:44:46,276 --> 02:44:49,746 WORK, OF POWERFUL MUSIC, THAT 5021 02:44:49,813 --> 02:44:51,414 MAYBE THERE'S SOME COMMON 5022 02:44:51,481 --> 02:44:53,850 CULTURAL CONSENSUS BUILT OVER 5023 02:44:53,917 --> 02:44:57,187 TIME ABOUT ITS BEAUTY, ITS 5024 02:44:57,254 --> 02:44:59,089 MEMORABLE, IT'S MOVING, AND IN 5025 02:44:59,155 --> 02:45:01,324 SIGNAL PROCESSING, WE CAN TAKE 5026 02:45:01,391 --> 02:45:04,728 THOSE THINGS APART, AND SOLVE 5027 02:45:04,794 --> 02:45:07,797 WHAT WE CALL TRANSFORMS TO 5028 02:45:07,864 --> 02:45:11,635 ANALYZE THE INFORMATION CONTENT, 5029 02:45:11,701 --> 02:45:14,070 SO CONSENSUS POWERFUL BEAUTIFUL 5030 02:45:14,137 --> 02:45:15,472 MUSIC, CAN WE CONVERT THAT, AND 5031 02:45:15,538 --> 02:45:16,806 EVERYBODY IS DANCING AROUND HERE 5032 02:45:16,873 --> 02:45:22,145 WHAT WE CALL FOURRIER SPACE OR 5033 02:45:22,212 --> 02:45:22,912 TRANSFORMATIONS THAT ARE 5034 02:45:22,979 --> 02:45:23,647 MATHEMATICAL THAT ARE 5035 02:45:23,713 --> 02:45:24,881 REPRESENTED IN SPACE AND TIME. 5036 02:45:24,948 --> 02:45:27,183 SO ARE PEOPLE TAKING KNOWN 5037 02:45:27,250 --> 02:45:29,152 BEAUTIFUL POWERFUL PIECES OF 5038 02:45:29,219 --> 02:45:31,087 MUSIC, DOING THE TRANSFORM OF 5039 02:45:31,154 --> 02:45:32,522 THOSE, AND THEN TRYING TO 5040 02:45:32,589 --> 02:45:35,292 UNDERSTAND HOW THAT MIGHT MAP 5041 02:45:35,358 --> 02:45:45,602 OUT INTO HUMAN 5042 02:45:46,603 --> 02:45:48,138 BRAIN BODY COORDINATION AND THE 5043 02:45:48,204 --> 02:45:50,173 NOTES AND SEQUENCES SO WE CAN 5044 02:45:50,240 --> 02:45:51,975 DISCRIMINATE BETTER AND FEEL 5045 02:45:52,042 --> 02:45:55,178 THINGS MORE. 5046 02:45:55,245 --> 02:46:02,686 >> I WANT TO TALK WITH YOU. 5047 02:46:02,752 --> 02:46:03,820 SO THERE'S ATTENTION THERE AND 5048 02:46:03,887 --> 02:46:06,756 IN THE SLIDE I HAD UP IS ONE WAY 5049 02:46:06,823 --> 02:46:08,892 OF MODELLING COMPELLING ASPECT 5050 02:46:08,958 --> 02:46:11,695 OF MUSIC AND WE CAN DO SIMILAR 5051 02:46:11,761 --> 02:46:14,431 THINGS MORE EXPLICITLY FOR ANY 5052 02:46:14,497 --> 02:46:17,534 MEMBER OF DIMENSIONS THAT END UP 5053 02:46:17,600 --> 02:46:19,769 CONVEYING A LOT OF THE MEANING 5054 02:46:19,836 --> 02:46:20,804 TO PEOPLE. 5055 02:46:20,870 --> 02:46:22,472 THERE'S THIS REAL TENSION 5056 02:46:22,539 --> 02:46:24,174 BETWEEN AESTHETIC IDEALS 5057 02:46:24,240 --> 02:46:26,476 EMBODIED IN SOME PIECE OF MUSIC 5058 02:46:26,543 --> 02:46:27,077 VERSUS THE EXPERIENCE OF THE 5059 02:46:27,143 --> 02:46:30,980 INDIVIDUAL. 5060 02:46:31,047 --> 02:46:33,450 AND AT THE END OF THE DAY WHAT 5061 02:46:33,516 --> 02:46:34,084 ENDS UP SHAPING OUR BRAINS IS 5062 02:46:34,150 --> 02:46:37,287 THAT INTERACTION. 5063 02:46:37,354 --> 02:46:40,357 SO SIMILARLY PEOPLE WANT TO FIND 5064 02:46:40,423 --> 02:46:43,860 WHAT IS LIKE THE RECIPE FOR AN 5065 02:46:43,927 --> 02:46:44,894 EAR WORM. 5066 02:46:44,961 --> 02:46:50,233 IT'S REALLY DIFFICULT TO GET 5067 02:46:50,300 --> 02:46:50,433 THAT. 5068 02:46:50,500 --> 02:46:54,137 AND SO THE ANALYSIS OF THE 5069 02:46:54,204 --> 02:46:56,706 MUSICAL STRUCTURE TRYING TO 5070 02:46:56,773 --> 02:46:59,175 SOLVE THE PROBLEM IS GREAT. 5071 02:46:59,242 --> 02:47:01,945 WE CAN IDENTIFY A LOT OF THE 5072 02:47:02,011 --> 02:47:04,047 PARTS OF THE BRAIN THAT RESPOND. 5073 02:47:04,114 --> 02:47:07,283 THEY TEND TO BE WITHIN THE 5074 02:47:07,350 --> 02:47:10,487 AUDITORY CORTEX, TEMPORAL LOBE 5075 02:47:10,553 --> 02:47:11,388 IN GENERAL. 5076 02:47:11,454 --> 02:47:14,924 PERHAPS EVEN IN THE LATERAL 5077 02:47:14,991 --> 02:47:16,760 PREFRONTAL AREAS THAT REPRESENT 5078 02:47:16,826 --> 02:47:19,295 ASPECT OF MUSICAL SEQUENCES BUT 5079 02:47:19,362 --> 02:47:21,664 THEN SO MUCH OF THE RICHER 5080 02:47:21,731 --> 02:47:23,600 PATTERN OF BRAIN ACTIVITY THAT 5081 02:47:23,666 --> 02:47:27,604 ONE SEES IS THEN REALLY THE 5082 02:47:27,670 --> 02:47:29,506 MEMORY IS AND ALL THE INDIVIDUAL 5083 02:47:29,572 --> 02:47:33,877 BRAINS TO THE EQUATION WHEN 5084 02:47:33,943 --> 02:47:35,478 THEY'RE HEARING A PIECE OF MUSIC 5085 02:47:35,545 --> 02:47:39,916 THAT MIGHT BE MOVING TO THEM IN 5086 02:47:39,983 --> 02:47:43,787 THE MOMENT AND THAT CAN'T HELP 5087 02:47:43,853 --> 02:47:48,591 BUT REINFORCE THAT IDIOSYNCRATIC 5088 02:47:48,658 --> 02:47:50,960 CIRCUITRY FOR THAT INDIVIDUAL 5089 02:47:51,027 --> 02:47:54,431 THAT RESIDES ON THIS SCAFFOLD 5090 02:47:54,497 --> 02:47:57,367 WHICH IS BEEN FAIRLY WELL 5091 02:47:57,434 --> 02:47:58,535 CONSERVED ACROSS INDIVIDUALS AND 5092 02:47:58,601 --> 02:47:59,869 PERHAPS EVEN SPECIES. 5093 02:47:59,936 --> 02:48:00,570 >> OKAY. 5094 02:48:00,637 --> 02:48:04,307 THAT WAS NOT A QUICK QUESTION. 5095 02:48:04,374 --> 02:48:05,508 >> IT'S A SLOW ANSWER. 5096 02:48:05,575 --> 02:48:06,609 I'M SORRY. 5097 02:48:06,676 --> 02:48:08,344 >> IT WAS A GREAT QUESTION JUST 5098 02:48:08,411 --> 02:48:09,145 NOT A QUICK ONE. 5099 02:48:09,212 --> 02:48:13,183 I WANT TO GIVE OUR SPEAKERS AND 5100 02:48:13,249 --> 02:48:15,185 OUR PANELISTS MY THANKS AND I 5101 02:48:15,251 --> 02:48:19,823 WOULD LIKE TO ALSO LIKE TO GIVE 5102 02:48:19,889 --> 02:48:21,424 THEM TIME TO GET LUNCH. 5103 02:48:21,491 --> 02:48:26,696 SO WITH THAT WE WILL BREAK. 5104 02:48:26,763 --> 02:48:27,297 >> THANK YOU. 5105 02:48:27,363 --> 02:48:30,767 OUR LUNCH BREAK IS GOING TO END 5106 02:48:30,834 --> 02:48:31,901 PROPERLY AT 1:00 P.M. SO PLEASE 5107 02:48:31,968 --> 02:48:33,236 BE BACK HERE. 5108 02:48:33,303 --> 02:48:35,104 THERE'S CONCESSIONS OUTSIDE AND 5109 02:48:35,171 --> 02:48:35,738 ALSO VARIOUS RESTAURANTS IN THE 5110 02:48:35,805 --> 02:48:38,608 AREA. 5111 02:48:38,675 --> 02:48:39,309 WELL, HELLO LADIES AND 5112 02:48:39,375 --> 02:48:39,576 GENTLEMEN. 5113 02:48:39,642 --> 02:48:41,110 EVERYBODY JOINING US TODAY. 5114 02:48:41,177 --> 02:48:46,416 OUR WORKSHOP PARTICIPANTS. 5115 02:48:46,483 --> 02:48:47,150 THANK YOU. 5116 02:48:47,217 --> 02:48:50,887 WELCOME BACK I HOPE YOU HAD A 5117 02:48:50,954 --> 02:48:54,858 LOVELY LUNCH BREAK WITH 5118 02:48:54,924 --> 02:48:56,125 WONDERFUL CONVERSATIONS AND SAW 5119 02:48:56,192 --> 02:48:57,527 CONNECTIONS MADE WITH OUR 5120 02:48:57,594 --> 02:48:59,329 SPEAKERS AND PANELISTS IN THE 5121 02:48:59,395 --> 02:49:00,096 FIRST SESSION. 5122 02:49:00,163 --> 02:49:01,965 WE'LL BEGIN THE NEXT PORTION OF 5123 02:49:02,031 --> 02:49:04,200 THIS MEETING WITH SPECIAL 5124 02:49:04,267 --> 02:49:07,537 REMARKS FROM DR. JOSHUA GORDON. 5125 02:49:07,604 --> 02:49:11,741 HE'S THE DIRECTOR OF THE 5126 02:49:11,808 --> 02:49:13,176 NATIONAL INSTITUTE OF MENTAL 5127 02:49:13,243 --> 02:49:14,878 HEALTH AND WE'RE GOING TO 5128 02:49:14,944 --> 02:49:17,013 WELCOME DR. GORDON TO THE STAGE 5129 02:49:17,080 --> 02:49:18,515 AND HEAR A FEW REMARKS BEFORE WE 5130 02:49:18,581 --> 02:49:19,849 MOVE INTO OUR NEXT SESSION. 5131 02:49:19,916 --> 02:49:26,122 DR. GORDON. 5132 02:49:26,189 --> 02:49:27,690 >> THANK YOU VERY MUCH. 5133 02:49:27,757 --> 02:49:29,993 THOSE LOOKING UP AT THE STAGE AT 5134 02:49:30,059 --> 02:49:32,862 ME MIGHT RECOGNIZE WITH THE 5135 02:49:32,929 --> 02:49:34,731 WHITE SHIRT AND GRAY PANTS IT'S 5136 02:49:34,797 --> 02:49:37,000 INFORMAL BUT I WORE IT ON 5137 02:49:37,066 --> 02:49:37,233 PURPOSE. 5138 02:49:37,300 --> 02:49:38,868 THIS IS ABOUT CLOSE AS I CAN GET 5139 02:49:38,935 --> 02:49:43,907 TO THE UNIFORM I WAS SUPPOSED TO 5140 02:49:43,973 --> 02:49:46,509 WEAR IN JUNIOR HIGH SCHOOL BAND. 5141 02:49:46,576 --> 02:49:48,545 WHITE SHIRT AND BLACK PANTS BUT 5142 02:49:48,611 --> 02:49:51,881 WHAT MIDDLE SCHOOLER HAS OR 5143 02:49:51,948 --> 02:49:55,685 WANTS TO OWN BLACK PANTS SO 5144 02:49:55,752 --> 02:49:57,353 USUALLY THEY WERE DARK, DARK 5145 02:49:57,420 --> 02:49:58,388 BLUE. 5146 02:49:58,454 --> 02:49:59,722 DEFINITELY COULDN'T WEAR MY 5147 02:49:59,789 --> 02:50:03,726 JEANS AND I WOULD ALWAYS GET 5148 02:50:03,793 --> 02:50:04,360 SCOLDED BECAUSE THEY WERE NEVER 5149 02:50:04,427 --> 02:50:04,861 BLACK. 5150 02:50:04,928 --> 02:50:08,197 BUT I REALLY CHERISHED MY OWN 5151 02:50:08,264 --> 02:50:10,066 EXPERIENCE WITH MUSIC GROWING UP 5152 02:50:10,133 --> 02:50:14,070 AND I PLAYED THE ALTO SAXOPHONE. 5153 02:50:14,137 --> 02:50:16,339 IN THIRD GRADE I WAS TOLD BY MY 5154 02:50:16,406 --> 02:50:21,010 PARENTS I HAD TO LEARN AN 5155 02:50:21,077 --> 02:50:22,812 INSTRUMENT AND I WAS GIVEN A 5156 02:50:22,879 --> 02:50:23,680 CHOICE OF THE INSTRUMENT I 5157 02:50:23,746 --> 02:50:25,148 WANTED TO LEARN. 5158 02:50:25,214 --> 02:50:26,950 MY OLDER BROTHER HAD WANTED TO 5159 02:50:27,016 --> 02:50:30,520 LEARN TO PLAY THE SAXOPHONE BUT 5160 02:50:30,587 --> 02:50:32,622 WHEN HE WENT TO SCHOOL THAT THE 5161 02:50:32,689 --> 02:50:34,324 TIME SCHOOLS LENT YOU THE 5162 02:50:34,390 --> 02:50:35,358 INSTRUMENT, RIGHT. 5163 02:50:35,425 --> 02:50:37,126 WHEN YOU WENT TO SCHOOL THEY RAN 5164 02:50:37,193 --> 02:50:43,733 OUT OF SAXOPHONES SO HE HAD TO 5165 02:50:43,800 --> 02:50:50,473 LEARN THE BAROTONE AND YOU COULD 5166 02:50:50,540 --> 02:50:52,241 RENT ANYTHING YOU WANTED AND A 5167 02:50:52,308 --> 02:50:56,212 GOT A SAXOPHONE AND PLAYED THAT 5168 02:50:56,279 --> 02:50:57,080 SAXOPHONE FROM THIRD GRADE 5169 02:50:57,146 --> 02:51:00,984 THROUGH MIDDLE SCHOOL AND HIGH 5170 02:51:01,050 --> 02:51:04,787 SCHOOL AND JAZZ BAND I AM 5171 02:51:04,854 --> 02:51:09,258 COLLEGE WITH VARIOUS AND SUNDRY 5172 02:51:09,325 --> 02:51:13,930 BANDS AND EVEN WON THE BATTLE 5173 02:51:13,997 --> 02:51:16,699 BANDS AND UNTIL I MET MY WIFE 5174 02:51:16,766 --> 02:51:19,535 AND BECAME TOO HAPPY TO PLAY THE 5175 02:51:19,602 --> 02:51:19,736 BLUES. 5176 02:51:19,802 --> 02:51:22,505 I STILL LOVE LISTENING TO MUSIC 5177 02:51:22,572 --> 02:51:24,073 AND AN IMPORTANT PART AS PART OF 5178 02:51:24,140 --> 02:51:26,109 MY DEVELOPMENT AS A HUMAN BEING 5179 02:51:26,175 --> 02:51:33,516 AND WHAT KEEPS ME HAPPY AND WHAT 5180 02:51:33,583 --> 02:51:37,920 ENSURES MY OWN MENTAL HEALTH AND 5181 02:51:37,987 --> 02:51:39,722 I STILL TURN TO MUSIC IN TIMES 5182 02:51:39,789 --> 02:51:41,724 OF SADNESS AND JOY. 5183 02:51:41,791 --> 02:51:43,760 JUST FROM THOSE EXPERIENCES WE 5184 02:51:43,826 --> 02:51:47,730 ALL KNOW HOW IMPORTANT MUSIC IS 5185 02:51:47,797 --> 02:51:51,034 TO OUR MENTAL HEALTH. 5186 02:51:51,100 --> 02:51:54,337 WE'VE BEEN MUSIC THERAPISTS FOR 5187 02:51:54,404 --> 02:51:58,474 AS LONG AS THERE'S BEEN 5188 02:51:58,541 --> 02:51:59,942 THERAPISTS IN THE MUSIC HEALTH 5189 02:52:00,009 --> 02:52:01,477 FIELD AND MUSIC HAS A ROLE TO 5190 02:52:01,544 --> 02:52:06,549 PLAY IN HEALING AND IN HEALING 5191 02:52:06,616 --> 02:52:09,452 FOR MENTAL HEALTH. 5192 02:52:09,519 --> 02:52:11,688 I KNOW YOU LEARN ABOUT THE 5193 02:52:11,754 --> 02:52:12,355 RESEARCH WORLD AND THE SCIENCE 5194 02:52:12,422 --> 02:52:13,756 THAT WAS SHARED AND DAVID IS ONE 5195 02:52:13,823 --> 02:52:17,060 OF OUR PROGRAM OFFICERS AT 5196 02:52:17,126 --> 02:52:17,260 NIMHD. 5197 02:52:17,326 --> 02:52:18,361 I THANK YOU. 5198 02:52:18,428 --> 02:52:20,029 FIRST, THANK YOU FOR INCLUDING 5199 02:52:20,096 --> 02:52:21,898 ME IN THE PROGRAM TODAY 5200 02:52:21,964 --> 02:52:23,566 ESPECIALLY DR. FRANCIS COLLINS 5201 02:52:23,633 --> 02:52:28,971 AND RENE FLEMING AND THOSE IN 5202 02:52:29,038 --> 02:52:34,210 THE AUDIENCE THOSE RUNNING THE 5203 02:52:34,277 --> 02:52:35,211 PROGRAM AND RESEARCH OR JUST 5204 02:52:35,278 --> 02:52:36,579 ENJOYING THE BENEFITS OF THAT 5205 02:52:36,646 --> 02:52:36,913 RESEARCH. 5206 02:52:36,979 --> 02:52:39,515 I REALLY THANK YOU FOR ALLOWING 5207 02:52:39,582 --> 02:52:42,685 NIMHD AND MYSELF TO PLAY A ROLE 5208 02:52:42,752 --> 02:52:45,955 IN THIS INITIATIVE. 5209 02:52:46,022 --> 02:52:47,790 WHEN ONE THINKS OF MUSIC AND 5210 02:52:47,857 --> 02:52:50,626 MENTAL HEALTH, ONE HAS THAT SORT 5211 02:52:50,693 --> 02:52:52,228 OF NATURAL CONNECTION BETWEEN 5212 02:52:52,295 --> 02:52:55,431 THOSE TWO CONCEPTS BUT AT THE 5213 02:52:55,498 --> 02:52:59,535 SAME TIME WE AT NIMHD FEEL VERY 5214 02:52:59,602 --> 02:53:01,237 STRONGLY THAT EVEN THINGS WE'VE 5215 02:53:01,304 --> 02:53:02,905 BEEN DOING FOR A LONG TIME, IF 5216 02:53:02,972 --> 02:53:03,973 WE DON'T HAVE THE EVIDENCE THEY 5217 02:53:04,040 --> 02:53:06,509 WORK WE NEED TO ESTABLISH THAT 5218 02:53:06,576 --> 02:53:08,177 FROM A SCIENCE PERSPECTIVE. 5219 02:53:08,244 --> 02:53:09,979 AND MORE IMPORTANTLY, WE DON'T 5220 02:53:10,046 --> 02:53:11,714 THINK WE'VE UNCOVERED ALL THE 5221 02:53:11,781 --> 02:53:16,619 THINGS NA MUSIC CAN DO TO HELP 5222 02:53:16,686 --> 02:53:18,121 INDIVIDUALS WITH MENTAL ILLNESS 5223 02:53:18,187 --> 02:53:19,722 OF ALL SORTS AND PROUD TO 5224 02:53:19,789 --> 02:53:20,690 SUPPORT RESEARCH PROJECTS 5225 02:53:20,757 --> 02:53:22,425 THROUGH THE INITIATIVE AND OTHER 5226 02:53:22,492 --> 02:53:22,625 WAYS. 5227 02:53:22,692 --> 02:53:27,296 LET ME GIVE YOU A SENSE OF SOME 5228 02:53:27,363 --> 02:53:27,830 OF THAT. 5229 02:53:27,897 --> 02:53:31,734 ONE OF THE RESEARCH PROJECTS IS 5230 02:53:31,801 --> 02:53:34,103 BY INVESTIGATOR MIRIAM LENS AND 5231 02:53:34,170 --> 02:53:35,738 WARREN JONES OF VANDERBILT AND 5232 02:53:35,805 --> 02:53:41,077 EMORY UNIVERSITIES RESPECTIVELY. 5233 02:53:41,144 --> 02:53:45,948 THEY'RE USING MUSIC TO SHOW OR 5234 02:53:46,015 --> 02:53:48,317 HOW SINGING TO INFANTS ELICITS 5235 02:53:48,384 --> 02:53:49,552 FACIAL EXPRESSIONS BETWEEN THE 5236 02:53:49,619 --> 02:53:54,991 CAREGIVER AND INFANT AND WE KNOW 5237 02:53:55,057 --> 02:54:04,667 FROM PRIOR WORK THAT 5238 02:54:04,734 --> 02:54:09,872 SYNCHRONIZITIATION HELPS SELF 5239 02:54:09,939 --> 02:54:12,575 SOOTHING AND THE DEVELOPMENT OF 5240 02:54:12,642 --> 02:54:15,812 THE PRECORTICAL FUNCTION FOR 5241 02:54:15,878 --> 02:54:17,914 EMOTIONAL AND ACADEMIC 5242 02:54:17,980 --> 02:54:18,214 DEVELOPMENT. 5243 02:54:18,281 --> 02:54:19,715 WE HOPE TO ESTABLISH SINGING IS 5244 02:54:19,782 --> 02:54:24,253 ONE OF THE MANY FACTORS THAT CAN 5245 02:54:24,320 --> 02:54:32,261 AID IN THAT SIN SYNCHRONIZATION 5246 02:54:32,328 --> 02:54:35,131 AND THE BEST WAY TO FORTIFY 5247 02:54:35,198 --> 02:54:39,735 INDIVIDUALS AGAINST THE 5248 02:54:39,802 --> 02:54:47,610 CHALLENGES AND RISKS FOR MENTAL 5249 02:54:47,677 --> 02:54:55,718 ILLNESS IS USING MUSIC AND A 5250 02:54:55,785 --> 02:54:58,454 FORMER COLLEAGUE OF MINE IS 5251 02:54:58,521 --> 02:55:00,289 STUDYING SOCIAL ANXIETY 5252 02:55:00,356 --> 02:55:00,556 DISORDER. 5253 02:55:00,623 --> 02:55:01,624 IN SOCIAL ANXIETY DISORDER ONE 5254 02:55:01,691 --> 02:55:03,292 OF THE THINGS THAT HAPPENS WITH 5255 02:55:03,359 --> 02:55:04,994 PATIENTS WHO SUFFER FROM THAT IS 5256 02:55:05,061 --> 02:55:14,437 THAT THEY READ CUES OF THE WORLD 5257 02:55:14,503 --> 02:55:17,740 DIFFERENTLY BUT FACIAL CUES. 5258 02:55:17,807 --> 02:55:21,310 DR. SCHNEIDER HAVE BEEN TRYING 5259 02:55:21,377 --> 02:55:23,713 TO TEACH PEOPLE THAT THE FACIAL 5260 02:55:23,779 --> 02:55:26,148 CUES ARE NOT AS DANGEROUS AS 5261 02:55:26,215 --> 02:55:27,049 THEY THINK YOU ARE. 5262 02:55:27,116 --> 02:55:30,586 WHEN SOMEBODY IS SMILING AT YOU 5263 02:55:30,653 --> 02:55:34,557 NOT BECAUSE THEY HAVE AN EVIL 5264 02:55:34,624 --> 02:55:36,292 PLAN BUT APPRECIATING IT AND 5265 02:55:36,359 --> 02:55:38,394 PEOPLE WITH SOCIAL ANXIETY HAVE 5266 02:55:38,461 --> 02:55:40,429 A BIAS TOWARDS A NEGATIVE 5267 02:55:40,496 --> 02:55:42,498 INTERPRETATION TOWARDS THE 5268 02:55:42,565 --> 02:55:45,101 FACIAL EXPRESSIONS. 5269 02:55:45,167 --> 02:55:45,835 THEY'RE LOOKING AT WHETHER 5270 02:55:45,902 --> 02:55:46,936 ADDING MUSIC TO THE STANDARD 5271 02:55:47,003 --> 02:55:49,405 TRAINING AROUND INTERPRETATION 5272 02:55:49,472 --> 02:55:51,474 OF THESE FACES CAN HELP IN TERMS 5273 02:55:51,540 --> 02:55:54,443 OF ALLOWING PEOPLE TO DIAL DOWN 5274 02:55:54,510 --> 02:55:58,414 THEIR EMOTIONAL RESPONSES TO 5275 02:55:58,481 --> 02:56:02,451 THESE PERCEIVED NEGATIVE FACES 5276 02:56:02,518 --> 02:56:03,352 AND AND UNDERSTAND THEY'RE 5277 02:56:03,419 --> 02:56:04,620 NEUTRAL OR POSITIVE. 5278 02:56:04,687 --> 02:56:06,489 ANOTHER USE OF MUSIC NOT DURING 5279 02:56:06,555 --> 02:56:08,624 DEVELOPMENT, NOT TO PREVENT 5280 02:56:08,691 --> 02:56:10,593 ILLNESS BUT TO TREAT ILLNESS. 5281 02:56:10,660 --> 02:56:13,996 SO WE'RE VERY PROUD THEIR WORK 5282 02:56:14,063 --> 02:56:17,433 THEY'RE DOING WITH NIMHD 5283 02:56:17,500 --> 02:56:17,833 SUPPORT. 5284 02:56:17,900 --> 02:56:20,937 ONE OF THE MOST SEVERE AND 5285 02:56:21,003 --> 02:56:22,939 INTRACTABLE ILLNESSES IS 5286 02:56:23,005 --> 02:56:23,272 SCHIZOPHRENIA. 5287 02:56:23,339 --> 02:56:24,573 IT'S A DISEASE WHICH CREATES 5288 02:56:24,640 --> 02:56:25,841 TREMENDOUS BURDENS AND IS A REAL 5289 02:56:25,908 --> 02:56:29,378 CHALLENGE IN TERMS OF TRYING TO 5290 02:56:29,445 --> 02:56:33,649 ACHIEVE REMISSION AND RECOVERY. 5291 02:56:33,716 --> 02:56:35,384 ONE WOULD THINK OF ALL ILLNESSES 5292 02:56:35,451 --> 02:56:38,187 WE'RE CONCERNED ABOUT AT NIMHD 5293 02:56:38,254 --> 02:56:39,622 MAYBE SCHIZOPHRENIA WHICH IS A 5294 02:56:39,689 --> 02:56:41,123 DISEASE WHERE HAVE YOU 5295 02:56:41,190 --> 02:56:45,127 HALLUCINATIONS DELUSIONS AND 5296 02:56:45,194 --> 02:56:46,128 DIFFICULTY WITH FIRM AND 5297 02:56:46,195 --> 02:56:47,196 INCORRECT BELIEFS ABOUT THE 5298 02:56:47,263 --> 02:56:50,766 WORLD AND IT SEEMS LIKE A 5299 02:56:50,833 --> 02:56:52,501 FUNDAMENTAL BIOLOGICAL ILLNESS. 5300 02:56:52,568 --> 02:56:57,773 DR. PHIL CORALET AND COLLEAGUES 5301 02:56:57,840 --> 02:56:59,742 AT YALE ARE USING MUSIC TO SEE 5302 02:56:59,809 --> 02:57:03,479 IF IT HELPS WITH PSYCHOSIS WITH 5303 02:57:03,546 --> 02:57:04,146 PROFOUND DISTURBANCES OF REALITY 5304 02:57:04,213 --> 02:57:07,450 BY HAVING INDIVIDUALS WITH 5305 02:57:07,516 --> 02:57:08,117 SCHIZOPHRENIA MAKE SONGS, CREATE 5306 02:57:08,184 --> 02:57:11,721 MUSIC AND TO SEE IF THE 5307 02:57:11,787 --> 02:57:15,725 COGNITIVE PROCESSES THAT ARE 5308 02:57:15,791 --> 02:57:18,494 INVOLVED IN CREATING MUSIC WHICH 5309 02:57:18,561 --> 02:57:19,729 INVOLVES IMAGINATION AND 5310 02:57:19,795 --> 02:57:21,297 CONSTRUCTION OF CONCEPT HELPS 5311 02:57:21,364 --> 02:57:22,698 INDIVIDUALS GET CONTROL OVER 5312 02:57:22,765 --> 02:57:23,733 THEIR PSYCHOSIS AS WELL. 5313 02:57:23,799 --> 02:57:25,334 IT'S REALLY INTERESTING TO THINK 5314 02:57:25,401 --> 02:57:26,969 ABOUT THESE THREE PROJECTS IN 5315 02:57:27,036 --> 02:57:29,372 THE CON NEXT OF OUR GREATER 5316 02:57:29,438 --> 02:57:29,638 PORTFOLIO. 5317 02:57:29,705 --> 02:57:31,707 I'M PROUD OF THIS WORK WE HAVE 5318 02:57:31,774 --> 02:57:34,910 MORE WORK TO DO IN MUSIC AND 5319 02:57:34,977 --> 02:57:39,582 MENTAL HEALTH MORE BROADLY AND 5320 02:57:39,648 --> 02:57:41,784 APPRECIATE THE SUPPORT AND THE 5321 02:57:41,851 --> 02:57:42,618 INITIATIVE IN FURTHERING THE 5322 02:57:42,685 --> 02:57:44,186 WORK AND GIVING ME THE HOPEFULLY 5323 02:57:44,253 --> 02:57:49,291 INTERESTING DETAILS OF THE WORK 5324 02:57:49,358 --> 02:57:58,234 WE'RE DOING. 5325 02:57:58,300 --> 02:58:00,603 >> THANK YOU FOR THE REMARKS AND 5326 02:58:00,669 --> 02:58:03,339 SESSION 2 FOCUSES RESEARCH ON 5327 02:58:03,406 --> 02:58:04,273 MUSIC THERAPY AND MUSIC 5328 02:58:04,340 --> 02:58:06,575 MEDICINE. 5329 02:58:06,642 --> 02:58:13,182 IT'S GOING TO BE LED BY DR 5330 02:58:13,249 --> 02:58:23,726 DR. APRISE STANDING IN FOR 5331 02:58:24,860 --> 02:58:32,902 DR. ONKEN AND IT'S LED BY MARIA 5332 02:58:32,968 --> 02:58:35,738 NURMINSKAYA AND DR. NORRIS FROM 5333 02:58:35,805 --> 02:58:36,572 DREXEL UNIVERSITY. 5334 02:58:36,639 --> 02:58:47,083 I'LL LET YOU TAKE IT OVER. 5335 02:58:54,523 --> 02:58:56,459 >> WE'D LIKE TO WELCOME YOU TO 5336 02:58:56,525 --> 02:58:57,193 SESSION 2. 5337 02:58:57,259 --> 02:59:00,596 WE'RE WELCOMING YOU TO THE 5338 02:59:00,663 --> 02:59:04,800 JOURNEY THROUGH THE EVOLUTION OF 5339 02:59:04,867 --> 02:59:07,603 MUSIC AND MEDICINE. 5340 02:59:07,670 --> 02:59:10,906 OVER OF THE NEXT 90 MINUTES 5341 02:59:10,973 --> 02:59:13,709 WE'LL LOOK AT APPLIED RESEARCH 5342 02:59:13,776 --> 02:59:15,544 IN CLINICAL SETTINGS AND WHAT 5343 02:59:15,611 --> 02:59:16,078 SUPPORTS EVOLVING WORK. 5344 02:59:16,145 --> 02:59:19,715 FIRST WE'D LIKE TO WELCOME TO 5345 02:59:19,782 --> 02:59:22,918 THE STAGE JERALYN GLASS. 5346 02:59:22,985 --> 02:59:29,291 SHE'S AN ACCLAIMED SINGER AND 5347 02:59:29,358 --> 02:59:31,227 HAS BEEN SHARING THE GIFT OF 5348 02:59:31,293 --> 02:59:31,994 MUSIC TO THE WORLD FOR DECADES 5349 02:59:32,061 --> 02:59:42,138 NOW. 5350 02:59:53,916 --> 02:59:56,285 >> IT'S POSSIBLE TO LIVE A LIFE 5351 02:59:56,352 --> 02:59:57,386 WITH WHOLENESS AND JOY. 5352 02:59:57,453 --> 03:00:00,189 AS A SINGER I KNOW OUR BODIES IS 5353 03:00:00,256 --> 03:00:03,125 A VIBRATING INSTRUMENT WITH OUR 5354 03:00:03,192 --> 03:00:05,094 ON YOU UNIQUE SIGNATURE THAT IS 5355 03:00:05,161 --> 03:00:10,666 OURS TO DEVELOP AND TO EXPRESS 5356 03:00:10,733 --> 03:00:18,574 AS FULLY AS POSSIBLE AND IT 5357 03:00:18,641 --> 03:00:21,343 TAKES US BEYOND WORDS AND HUMAN 5358 03:00:21,410 --> 03:00:24,580 TOUCH AND JOURNEY US TO THE 5359 03:00:24,647 --> 03:00:32,321 PLACE OF THE SUBLIME. 5360 03:00:32,388 --> 03:00:42,932 SO WAS TAKEN ATOP THE MOUNTAIN 5361 03:00:45,167 --> 03:00:54,210 OF MACHU PICHU AND THIS CHANGED 5362 03:00:54,276 --> 03:00:55,411 EVERYTHING I KNEW ABOUT LIFE AND 5363 03:00:55,477 --> 03:00:58,881 DEATH AND SO BEGAN MY DEEPENED 5364 03:00:58,948 --> 03:01:00,282 JOURNEY WITH MUSIC HEALING. 5365 03:01:00,349 --> 03:01:03,719 I'D LIKE TO SHARE A LITTLE BIT 5366 03:01:03,786 --> 03:01:06,589 ABOUT MY WORK WITH THIS 5367 03:01:06,655 --> 03:01:08,224 INSTRUMENTS WHICH BEGAN 17 YEARS 5368 03:01:08,290 --> 03:01:08,390 AGO. 5369 03:01:08,457 --> 03:01:10,526 PLEASE LOOK AT THE FIVE UNIQUE 5370 03:01:10,593 --> 03:01:13,562 IMAGES OF F NOTES IN DIFFERENT 5371 03:01:13,629 --> 03:01:16,932 OPTIVES AND TUNINGS CREATED BY 5372 03:01:16,999 --> 03:01:20,903 THE SIMOSCOPE INVENTED BY JOHN 5373 03:01:20,970 --> 03:01:21,503 STEWART REED. 5374 03:01:21,570 --> 03:01:26,008 WE CAN MARVEL AT THE ORDER 5375 03:01:26,075 --> 03:01:28,410 KNOWING THE CRYSTAL SINGING 5376 03:01:28,477 --> 03:01:30,579 BOWLS MAY AFFECT OUR BRAINS AND 5377 03:01:30,646 --> 03:01:33,816 BODIES DIFFERENTLY THAN OTHER 5378 03:01:33,882 --> 03:01:35,718 ACOUSTIC INSTRUMENTS WHO HAVE A 5379 03:01:35,784 --> 03:01:36,585 CHAOTIC COMPONENT IN THEIR 5380 03:01:36,652 --> 03:01:37,519 SPECTO GRAM. 5381 03:01:37,586 --> 03:01:40,389 I WAS FULLY IMMERSED IN AN 5382 03:01:40,456 --> 03:01:41,290 INTERNATIONAL CAREER IN MUSIC 5383 03:01:41,357 --> 03:01:43,192 WHEN I BROUGHT SEVEN INSTRUMENTS 5384 03:01:43,259 --> 03:01:44,927 HOME TO MUNICH AND BEGAN SHARING 5385 03:01:44,994 --> 03:01:47,663 THEM WITH MY FAMILY, STUDENTS 5386 03:01:47,730 --> 03:01:48,030 AND MY FRIENDS. 5387 03:01:48,097 --> 03:01:49,999 WHAT I FOUND REMARKABLE WAS THAT 5388 03:01:50,065 --> 03:01:51,767 WHEN A VOICE STUDENT HAD A 5389 03:01:51,834 --> 03:01:54,270 BLOCKAGE, I WOULD ASK THEM TO 5390 03:01:54,336 --> 03:01:55,671 CHOOSE ONE OF THE SEVEN BOWLS 5391 03:01:55,738 --> 03:01:57,673 AND TONE WITH IT. 5392 03:01:57,740 --> 03:01:58,974 ASTOUNDINGLY THE BLOCKAGE IN 5393 03:01:59,041 --> 03:02:00,542 THEIR VOICE WOULD DISSIPATE. 5394 03:02:00,609 --> 03:02:03,345 IN ONE SITUATION THE 16-YEAR-OLD 5395 03:02:03,412 --> 03:02:05,214 GIRL WHO HAD TROUBLE OPENING UP 5396 03:02:05,281 --> 03:02:09,285 HER HIGH RANGE AND TRAINED HER 5397 03:02:09,351 --> 03:02:13,022 VOICE WITH AN OCEAN INDIAN D 5398 03:02:13,088 --> 03:02:18,494 NOTE AND BEGAN CRYING. 5399 03:02:18,560 --> 03:02:23,732 SHE RECALLED A TRAUMA FROM HER 5400 03:02:23,799 --> 03:02:26,068 CHILDHOOD AND I WITNESSED SOUND 5401 03:02:26,135 --> 03:02:27,436 AND ITS ABILITY TO HEAL TAKE 5402 03:02:27,503 --> 03:02:34,843 PLACE RIGHT IN FRONT OF MY EYES. 5403 03:02:34,910 --> 03:02:37,446 FIRST WITH MYSELF TO HELP ME 5404 03:02:37,513 --> 03:02:39,515 FEEL AND PROCESS MY OWN GRIEF 5405 03:02:39,581 --> 03:02:41,016 AND THEN WITH OTHERS INCLUDING 5406 03:02:41,083 --> 03:02:42,951 CANCER AND HOSPICE PATIENTS AND 5407 03:02:43,018 --> 03:02:45,421 VETERANS AND THE SAME PRINCIPLE 5408 03:02:45,487 --> 03:02:50,793 OF ENTRAINMENT WITH THE 5409 03:02:50,859 --> 03:03:01,403 FREQUENCIES OF THE BOWLS AND A 5410 03:03:11,246 --> 03:03:12,681 SILENT MEDITATOR FOR YEARS TOLD 5411 03:03:12,748 --> 03:03:15,718 ME WITH REVERENCE I'M NO LONGER 5412 03:03:15,784 --> 03:03:17,686 AFRAID OF DEATH AS I'VE NOW 5413 03:03:17,753 --> 03:03:22,224 HEARD THE SOUNDS OF HEAVEN. 5414 03:03:22,291 --> 03:03:24,793 A MAN FROM SOUTH AFRICA ASKED ME 5415 03:03:24,860 --> 03:03:30,232 WHAT KIND OF VOODOO DID YOU DO 5416 03:03:30,299 --> 03:03:33,268 AND I EXPERIENCED MYSELF WIDE 5417 03:03:33,335 --> 03:03:35,437 AWAKE AND PRESENT WITHOUT ANY 5418 03:03:35,504 --> 03:03:35,738 THOUGHT. 5419 03:03:35,804 --> 03:03:41,810 ANOTHER WOMAN A VETERAN JUMPED 5420 03:03:41,877 --> 03:03:43,645 UP AND EXPLAINED IN WONDER, I'VE 5421 03:03:43,712 --> 03:03:45,948 BEEN THROUGH IT ALL -- I'VE BEEN 5422 03:03:46,014 --> 03:03:47,282 RAPED, I'VE SEEN DEATH, I'VE 5423 03:03:47,349 --> 03:03:49,785 BEEN A TEST ANIMAL FOR COUNTLESS 5424 03:03:49,852 --> 03:03:51,754 MEDICATIONS AND THIS SOUND WAS 5425 03:03:51,820 --> 03:03:54,823 THE ONLY THING THAT TRULY RE 5426 03:03:54,890 --> 03:03:56,859 RELIEVED MY PAIN. 5427 03:03:56,925 --> 03:03:57,393 I'M BLOWN AWAY. 5428 03:03:57,459 --> 03:04:00,562 I INVITE YOU NOW TO EXPERIENCE 5429 03:04:00,629 --> 03:04:02,865 THESE MAGNIFICENT INSTRUMENTS 5430 03:04:02,931 --> 03:04:03,465 FOR YOURSELF. 5431 03:04:03,532 --> 03:04:07,469 MUSIC AS MEDICINE HELPS US 5432 03:04:07,536 --> 03:04:10,839 BREATHE AND FEEL AND HEAL. 5433 03:04:10,906 --> 03:04:11,440 THIS I KNOW. 5434 03:04:11,507 --> 03:04:15,644 PLEASE CLOSE YOUR EYES AND LET'S 5435 03:04:15,711 --> 03:04:25,888 BEGIN. 5436 03:04:25,954 --> 03:04:28,123 TAKE SOME LONG DEEP BREATHS. 5437 03:04:28,190 --> 03:04:29,725 SO IS THE SOUNDS IN COMBINATION 5438 03:04:29,792 --> 03:04:31,093 WITH SETTING AND INTENTION 5439 03:04:31,160 --> 03:04:33,162 PERHAPS SOMETHING YOU'D LIKE TO 5440 03:04:33,228 --> 03:04:33,429 TRANSFORM. 5441 03:04:33,495 --> 03:04:35,731 SOMETHING YOU'D LIKE TO RELEASE 5442 03:04:35,798 --> 03:04:37,499 OR LET GO OF. 5443 03:04:37,566 --> 03:04:39,601 SOMETHING THAT'S UP FOR YOU TO 5444 03:04:39,668 --> 03:04:41,203 HEAL. 5445 03:04:41,270 --> 03:04:43,705 PLEASE LET THAT INTENTION AS WE 5446 03:04:43,772 --> 03:04:47,709 IMMERSE OUR SELVES IN THESE 5447 03:04:47,776 --> 03:04:58,086 CRYSTALLIN SOUNDS. 5448 03:08:03,505 --> 03:08:06,041 >> INVITING YOU TO FIND YOUR 5449 03:08:06,108 --> 03:08:09,144 TONE WHATEVER THAT MIGHT. 5450 03:08:09,211 --> 03:08:12,614 TAKE A GENTLE HUM AS WE UNITE 5451 03:08:12,681 --> 03:08:20,288 TOGETHER IN SOUND VIBRATION. 5452 03:08:20,355 --> 03:08:26,328 YOU FEEL YOUR OWN BODY ACTIVATE 5453 03:08:26,395 --> 03:08:28,964 THROUGH YOUR OWN HUM. 5454 03:08:29,031 --> 03:08:30,632 FEELING THE SENSATION MOVE 5455 03:08:30,699 --> 03:08:40,909 WITHIN YOU. 5456 03:08:44,212 --> 03:08:47,716 THERE IS JOY. 5457 03:08:47,783 --> 03:08:58,026 THERE IS JOY. 5458 03:09:19,848 --> 03:09:30,192 >> THANK YOU VERY MUCH. 5459 03:09:36,431 --> 03:09:46,875 >> THANK YOU, SO MUCH JERALYN. 5460 03:09:49,978 --> 03:09:51,747 WE'LL MOVE ON WITH OUR SPEAKERS. 5461 03:09:51,813 --> 03:09:57,252 LET ME INTRODUCE OUR WONDERFUL 5462 03:09:57,319 --> 03:09:57,452 PANEL. 5463 03:09:57,519 --> 03:10:05,093 THE FIRST ONE WILL BE MARISOL 5464 03:10:05,160 --> 03:10:11,700 NORRIS AND THEN MARIA 5465 03:10:11,767 --> 03:10:15,704 NURMINSKAYA INVESTIGATION OF 5466 03:10:15,771 --> 03:10:17,572 MIAMI. 5467 03:10:17,639 --> 03:10:22,711 JOANNE LOWEY AND CARLENE BROWN 5468 03:10:22,778 --> 03:10:33,188 FROM SEAT PACIFIC AND GAMMON 5469 03:10:33,255 --> 03:10:36,658 EARHART. 5470 03:10:36,725 --> 03:10:38,426 PLEASED, MARISOL. 5471 03:10:38,493 --> 03:10:39,661 >> HELLO AGAIN. 5472 03:10:39,728 --> 03:10:47,736 SO IN THE EARLY 1800s, JAPANESE 5473 03:10:47,803 --> 03:10:51,773 ARTIST BEGAN A SERIES OF WOOD 5474 03:10:51,840 --> 03:10:59,915 BLOCK PRINTS ARE WITH HIS 5475 03:10:59,981 --> 03:11:04,286 EXPERIENCE WITH MOUNT FUJI AND 5476 03:11:04,352 --> 03:11:08,223 OUT OF THE 36 IMAGES HAILED BY 5477 03:11:08,290 --> 03:11:12,661 ARTISTS AND LOVERS ALIVE AND THE 5478 03:11:12,727 --> 03:11:15,096 GREAT WAVE HAS BECOME ONE OF THE 5479 03:11:15,163 --> 03:11:15,730 MOST POWERFUL AND POPULAR 5480 03:11:15,797 --> 03:11:25,941 PIECES. 5481 03:11:46,461 --> 03:11:47,629 THIS WOOD BLOCK PRINT AND THE 5482 03:11:47,696 --> 03:11:51,032 IMAGE OF THE WAVE CAME TO MIND. 5483 03:11:51,099 --> 03:11:53,602 WE SO BEAUTIFULLY DISCUSSED 5484 03:11:53,668 --> 03:11:55,470 FORMULATIONS OF PHYSICS AND 5485 03:11:55,537 --> 03:11:57,239 SONIC WAVES AND THE INTERPLAY TO 5486 03:11:57,305 --> 03:12:03,278 SUPPORT HEALTH AND WHOLENESS AND 5487 03:12:03,345 --> 03:12:05,580 WELLNESS. 5488 03:12:05,647 --> 03:12:07,716 AND THE NATURE OF OUR WORK AND 5489 03:12:07,782 --> 03:12:10,518 THE HOWS AND WHYS MUSIC WORK AND 5490 03:12:10,585 --> 03:12:11,453 THE OBJECTIVES. 5491 03:12:11,519 --> 03:12:14,556 THE OBJECTIVES OF THE ARTISTS, 5492 03:12:14,623 --> 03:12:16,024 OF THE RESEARCHER AND 5493 03:12:16,091 --> 03:12:17,425 PRACTITIONER AND RELATIONSHIP TO 5494 03:12:17,492 --> 03:12:20,495 THE TRANSFORMATIVE POWER OF THE 5495 03:12:20,562 --> 03:12:20,829 WORK. 5496 03:12:20,896 --> 03:12:21,830 THE CURRENTS THAT PLAY INFORMING 5497 03:12:21,897 --> 03:12:24,633 OUR COURSE AND OUR COLLECTED 5498 03:12:24,699 --> 03:12:29,337 JOURNEY TOWARDS WHOLE BEING. 5499 03:12:29,404 --> 03:12:33,842 OVER THE PAST DECADES WE'VE SEEN 5500 03:12:33,909 --> 03:12:35,477 GREAT STRIDES IN MUSIC RESEARCH. 5501 03:12:35,543 --> 03:12:37,779 WHILE MUSIC THERAPY AND MEDICINE 5502 03:12:37,846 --> 03:12:42,651 INVOLVED THE USE OF MUSIC EN 5503 03:12:42,717 --> 03:12:44,219 HEALTH CARE WE'VE SEEN MUSIC 5504 03:12:44,286 --> 03:12:47,722 THERAPY LED BY PRACTITIONERS 5505 03:12:47,789 --> 03:12:50,158 SUPPORT WHOLENESS AND MUSIC 5506 03:12:50,225 --> 03:12:51,993 MEDICINE OFTEN INTRODUCED BY 5507 03:12:52,060 --> 03:12:54,663 HEALTH CARE PROFESSIONALS, 5508 03:12:54,729 --> 03:12:55,730 UTILIZATION OF MUSIC IN THE 5509 03:12:55,797 --> 03:12:59,100 BROADER CONTEXT OF MEDICAL CARE. 5510 03:12:59,167 --> 03:13:01,803 EARLY NIH SUPPORTED STUDIES 5511 03:13:01,870 --> 03:13:05,140 CONCENTRATED ON THE 5512 03:13:05,206 --> 03:13:06,441 PHYSIOLOGICAL AFFECTS OF MUSIC 5513 03:13:06,508 --> 03:13:08,343 EXAMINING THE IMPACT ON HEART 5514 03:13:08,410 --> 03:13:10,078 RATE, BLOOD PRESSURE AND STRESS 5515 03:13:10,145 --> 03:13:11,713 LEVELS AS THE FIELD PROGRESSED, 5516 03:13:11,780 --> 03:13:13,481 RESEARCH BEGAN TO INVESTIGATE 5517 03:13:13,548 --> 03:13:16,251 THE COGNITIVE AND PSYCHOLOGICAL 5518 03:13:16,318 --> 03:13:17,619 DIMENSIONS OF MUSIC EXPLORING 5519 03:13:17,686 --> 03:13:19,020 THE POTENTIAL AND MITIGATING 5520 03:13:19,087 --> 03:13:20,722 SYMPTOMS ACROSS MENTAL HEALTH. 5521 03:13:20,789 --> 03:13:24,259 IN THE LATE 20s CENTURY THE NIH 5522 03:13:24,326 --> 03:13:27,696 EXPAND THE SUPPORT FOR 5523 03:13:27,762 --> 03:13:28,396 MUSIC-BASED INTERVENTIONS 5524 03:13:28,463 --> 03:13:29,030 RECOGNIZING THE THERAPEUTIC 5525 03:13:29,097 --> 03:13:30,432 POTENTIAL AND RESEARCH 5526 03:13:30,498 --> 03:13:31,132 INITIATIVES AS THE ONES WE HAVE 5527 03:13:31,199 --> 03:13:33,835 HERE EXPLORE THE APPLICATIONS OF 5528 03:13:33,902 --> 03:13:36,671 MUSIC THERAPY AND HEALTH CARE 5529 03:13:36,738 --> 03:13:38,073 SETTINGS PARTICULARLY FOR 5530 03:13:38,139 --> 03:13:39,708 PATIENTS UNDERGOING MEDICAL 5531 03:13:39,774 --> 03:13:42,110 TREATMENTS AND INDIVIDUALS WITH 5532 03:13:42,177 --> 03:13:42,744 NEUROLOGICAL DISORDERS AND THOSE 5533 03:13:42,811 --> 03:13:44,846 FACING CHALLENGES. 5534 03:13:44,913 --> 03:13:47,716 THE ADVENT OF ADVANCED 5535 03:13:47,782 --> 03:13:49,985 TECHNOLOGY FACILITATED A DEEPER 5536 03:13:50,051 --> 03:13:53,955 UNDERSTANDING OF THE NEURAL 5537 03:13:54,022 --> 03:13:55,724 MECHANISMS WITH PERCEPTION AND 5538 03:13:55,790 --> 03:13:58,660 NIH STUDIES HAVE DELVED IN THE 5539 03:13:58,727 --> 03:14:00,662 ASPECTS OF MUSIC EXAMINING HOW 5540 03:14:00,729 --> 03:14:02,897 MUSICAL ACTIVITIES IMPACT BRAIN 5541 03:14:02,964 --> 03:14:05,633 STRUCTURE AND CONNECTIVITY AND 5542 03:14:05,700 --> 03:14:07,702 FUNCTION AND NIH SUPPORTED MUSIC 5543 03:14:07,769 --> 03:14:10,005 RESEARCH SPANS A BROAD SPECTRUM 5544 03:14:10,071 --> 03:14:10,972 ENCOMPASSING INVESTIGATIONS INTO 5545 03:14:11,039 --> 03:14:14,576 THE USE OF MUSIC FOR PAIN 5546 03:14:14,642 --> 03:14:15,910 MANAGEMENT, COGNITIVE 5547 03:14:15,977 --> 03:14:17,846 REHABILITATION AND EMOTIONAL 5548 03:14:17,912 --> 03:14:18,546 WELL BEING. 5549 03:14:18,613 --> 03:14:20,782 THE EMPHASIS ON 5550 03:14:20,849 --> 03:14:21,449 INTERDISCIPLINARY COLLABORATION 5551 03:14:21,516 --> 03:14:22,083 IS EVIDENT. 5552 03:14:22,150 --> 03:14:23,718 WITH PROJECTS INVOLVING 5553 03:14:23,785 --> 03:14:25,754 RESEARCHERS FROM FIELDS SUCH AS 5554 03:14:25,820 --> 03:14:28,256 NEUROSCIENCE, PSYCHOLOGY, 5555 03:14:28,323 --> 03:14:34,029 MEDICINE AND MUSICOLOGY AND NIH 5556 03:14:34,095 --> 03:14:36,664 CONTINUES TO RESEARCH, MUSIC 5557 03:14:36,731 --> 03:14:37,699 BASED STUDIES PROMISES AN 5558 03:14:37,766 --> 03:14:42,137 UNVEILING OF NEW INSIGHTS 5559 03:14:42,203 --> 03:14:46,041 INVOLVING WHEN I CLINICAL 5560 03:14:46,107 --> 03:14:46,841 PRACTICE AND PUBLIC COMMENT 5561 03:14:46,908 --> 03:14:47,208 INITIATIVES. 5562 03:14:47,275 --> 03:14:51,746 WHEN I THOUGHT ABOUT THE WAVE I 5563 03:14:51,813 --> 03:14:54,149 THOUGHT ABOUT A MUSIC THERAPIST, 5564 03:14:54,215 --> 03:14:58,586 SCHOLAR, EDUCATOR WHO HAD BEEN 5565 03:14:58,653 --> 03:14:59,721 DOING DECADES OF WORK OF TRYING 5566 03:14:59,788 --> 03:15:02,090 TO DEFINE MUSIC THERAPY. 5567 03:15:02,157 --> 03:15:05,193 SO FOR THE PAST 30 OR 40 YEARS 5568 03:15:05,260 --> 03:15:06,995 WE'VE SEEN A NEW ADDITIONAL 5569 03:15:07,062 --> 03:15:09,364 ALMOST EVERY DECADE THAT 5570 03:15:09,431 --> 03:15:14,903 ATTEMPTS TO DEFINE WHAT IS THE 5571 03:15:14,969 --> 03:15:16,104 POWER AND SCOPE OF MUSIC 5572 03:15:16,171 --> 03:15:16,404 THERAPIES. 5573 03:15:16,471 --> 03:15:19,374 IN HIS CONCLUSION HE DREW ON THE 5574 03:15:19,441 --> 03:15:22,343 POSSIBILITIES OF MULTIPLE WAVES 5575 03:15:22,410 --> 03:15:24,679 INFORMED BY THE SOCIAL CONTEXT 5576 03:15:24,746 --> 03:15:29,250 AND PSYCHOLOGICAL TROPES AND 5577 03:15:29,317 --> 03:15:30,385 MECHANISMS GUIDING OUR PRACTICE. 5578 03:15:30,452 --> 03:15:31,453 WAVE ONE WHICH WE MAY BE ABLE TO 5579 03:15:31,519 --> 03:15:34,823 SEE FROM THE CONTEXT OF 5580 03:15:34,889 --> 03:15:35,723 MUSIC-BASED RESEARCH HAS 5581 03:15:35,790 --> 03:15:36,691 DIFFERENT WAYS FOR US TO 5582 03:15:36,758 --> 03:15:40,795 UNDERSTAND THE WORK AT PLAY. 5583 03:15:40,862 --> 03:15:44,332 WAVE ONE INFLUENCE OF MUSIC AND 5584 03:15:44,399 --> 03:15:45,667 PHYSICAL WORLD. 5585 03:15:45,733 --> 03:15:48,436 WE SEE MUSIC AS STIMULI IN 5586 03:15:48,503 --> 03:15:53,141 ALIGNMENT WITH BEHAVIORAL 5587 03:15:53,208 --> 03:15:54,476 PERSPECTIVES AND LOOK AT MUSIC 5588 03:15:54,542 --> 03:15:55,043 AND APPLICATION IN SPECIFIC 5589 03:15:55,110 --> 03:15:58,213 PROTOCOLS. 5590 03:15:58,279 --> 03:16:00,515 WAVE 2, THE UNCONSCIOUS 5591 03:16:00,582 --> 03:16:03,251 DIMENSIONS OF MUSIC EXPERIENCE. 5592 03:16:03,318 --> 03:16:06,221 THINKING THE WAYS IN WHICH 5593 03:16:06,287 --> 03:16:07,555 PSYCHO ANALYTIC AND DYNAMIC 5594 03:16:07,622 --> 03:16:09,090 THEORIES INFORM THE WAY IN WHICH 5595 03:16:09,157 --> 03:16:11,726 WE UNDERSTAND METAPHOR AND 5596 03:16:11,793 --> 03:16:13,795 SYMBOL IN THE WORK WE DO. 5597 03:16:13,862 --> 03:16:19,033 WAVE 3, THE ROLE OF MUSIC AND 5598 03:16:19,100 --> 03:16:20,068 SELF-ACTUALIZATION LOOKS AT THE 5599 03:16:20,135 --> 03:16:25,406 PEAK TO HUMANISM AND CARL 5600 03:16:25,473 --> 03:16:27,208 RODGERS DIFFERENT 5601 03:16:27,275 --> 03:16:29,043 PERSON-CENTERED PRACTITIONERS 5602 03:16:29,110 --> 03:16:30,678 THAT INFORM OUR VIEWS OF HOW A 5603 03:16:30,745 --> 03:16:32,147 PERSON ENGAGING AND HAS AGENCY 5604 03:16:32,213 --> 03:16:38,653 WITHIN WORK. 5605 03:16:38,720 --> 03:16:40,221 AND SPIRITUAL DEVELOPMENT. 5606 03:16:40,288 --> 03:16:45,760 WAVE 5, THE ROLE OF MUSIC AS A 5607 03:16:45,827 --> 03:16:47,162 CONTEXT DRIVEN WORK THAT SHAPE 5608 03:16:47,228 --> 03:16:51,833 THE WORK AND PREDISPOSES THE WAY 5609 03:16:51,900 --> 03:16:54,202 IN WHICH WE TACH OUR MEANING TO 5610 03:16:54,269 --> 03:16:58,773 IT AND I WOULD ADD WE'RE 5611 03:16:58,840 --> 03:17:03,811 EXPERIENCING A SIXTH WAVE THAT 5612 03:17:03,878 --> 03:17:05,847 LOOKS AT THE POLITICAL NATURE 5613 03:17:05,914 --> 03:17:10,919 AND THE WAY OUR WORK EXISTS ON 5614 03:17:10,985 --> 03:17:14,822 HELP AND HARM THAT DEPOLITICIZE 5615 03:17:14,889 --> 03:17:17,926 MUSIC AND CIRCUMVENTS ISSUES OF 5616 03:17:17,992 --> 03:17:22,697 POWER AND OPPRESSION AND 5617 03:17:22,764 --> 03:17:25,967 DIMINISHES JUSTICE ORIENTATED 5618 03:17:26,034 --> 03:17:28,870 FRAMES AND ACT AS AGENTS OF 5619 03:17:28,937 --> 03:17:30,638 UNLIVED EXPERIENCES CONFORMING 5620 03:17:30,705 --> 03:17:33,508 THEIR AESTHETIC BEING, CULTURAL 5621 03:17:33,575 --> 03:17:35,710 MEMORY, THEIR MUSIC IN PRACTICES 5622 03:17:35,777 --> 03:17:39,013 AND LANGUAGE AND COMMUNICATION 5623 03:17:39,080 --> 03:17:42,650 STYLES AND COPING MECHANISM, 5624 03:17:42,717 --> 03:17:44,819 CULTURAL EXISTENCE TO NORMS. 5625 03:17:44,886 --> 03:17:49,324 RESIST THE EFFORTS OF 5626 03:17:49,390 --> 03:17:50,592 MINORITIZED CLIENTS TO HOLD 5627 03:17:50,658 --> 03:17:52,293 POWER AND PERSONAL AGENCY TO 5628 03:17:52,360 --> 03:17:54,028 EMPOWER THEMSELVES OR BE 5629 03:17:54,095 --> 03:17:57,765 EMPOWERED THROUGH THE 5630 03:17:57,832 --> 03:18:00,335 COMMUNITIES AND EXAMINING SOCIAL 5631 03:18:00,401 --> 03:18:01,536 POSITIONALITY AND HOW THAT 5632 03:18:01,603 --> 03:18:02,670 INFORMS THE WORK ON THE GROUND 5633 03:18:02,737 --> 03:18:03,438 AND IS THE RESEARCH THAT TAKES 5634 03:18:03,504 --> 03:18:04,172 PLACE AROUND IT. 5635 03:18:04,239 --> 03:18:07,008 AT THE CENTER OF THAT THINKING 5636 03:18:07,075 --> 03:18:09,410 ABOUT HOW THE POLITICS OF MUSIC 5637 03:18:09,477 --> 03:18:14,582 AND MUSIC AND HEALTH MAY 5638 03:18:14,649 --> 03:18:16,651 SUPPRESS THE LIBERATION OF MUSIC 5639 03:18:16,718 --> 03:18:21,623 AND THE GOALS THAT EXIST THERE. 5640 03:18:21,689 --> 03:18:23,124 AS I THINK ABOUT THIS WAVE AND 5641 03:18:23,191 --> 03:18:24,392 HOW THEY'RE ALL INFORMING WORK I 5642 03:18:24,459 --> 03:18:27,161 THINK IT'S IMPORTANT TO GROUND 5643 03:18:27,228 --> 03:18:32,433 OURSELVES AS WE THINK WHAT IS TO 5644 03:18:32,500 --> 03:18:33,968 COME WITHIN THE NEXT SESSION THE 5645 03:18:34,035 --> 03:18:35,536 PANELISTS AND SPEAKERS THAT 5646 03:18:35,603 --> 03:18:39,974 PRESENT WILL GROUND IN NEW 5647 03:18:40,041 --> 03:18:46,714 CONTEXT AND IT MAY BE BLURRY SO 5648 03:18:46,781 --> 03:18:50,018 I'LL GO THROUGH THEM. 5649 03:18:50,084 --> 03:18:54,389 AT THE CENTER EACH ONE OF US NOT 5650 03:18:54,455 --> 03:18:56,758 ONLY AS CLIENTS EXPLORE THIS 5651 03:18:56,824 --> 03:18:57,925 AESTHETIC WAY OF BEING WITHIN 5652 03:18:57,992 --> 03:19:03,264 MUSIC THERAPY AND MUSIC-BASED 5653 03:19:03,331 --> 03:19:08,536 WORK. 5654 03:19:08,603 --> 03:19:11,506 AND THERE'S AN EMBODIED WAY OF 5655 03:19:11,572 --> 03:19:12,674 BEING WITH THE WORLD INFLUENCE 5656 03:19:12,740 --> 03:19:14,876 OUR SYSTEMS AND POLICIES AND 5657 03:19:14,942 --> 03:19:15,710 PRACTICES. 5658 03:19:15,777 --> 03:19:17,512 THE DIFFERENT SITUATED 5659 03:19:17,578 --> 03:19:18,613 HISTORIES, OUR PERSONAL STORIES 5660 03:19:18,680 --> 03:19:20,782 AND NARRATIVES. 5661 03:19:20,848 --> 03:19:23,551 THE CULTURAL LIFE WORLDS. 5662 03:19:23,618 --> 03:19:28,923 THE PAST, PRESENT, IMAGINATIVE 5663 03:19:28,990 --> 03:19:30,158 FUTURE AND AESTHETIC MEANING 5664 03:19:30,224 --> 03:19:34,929 MAKE TO THE WORLD WE ENGAGE 5665 03:19:34,996 --> 03:19:35,129 WITH. 5666 03:19:35,196 --> 03:19:37,031 AND IMPACTED BY OUR USE OF 5667 03:19:37,098 --> 03:19:38,266 LANGUAGE AND SYMBOLS AND 5668 03:19:38,333 --> 03:19:39,434 MOVEMENT AND HOW THAT INFORMS 5669 03:19:39,500 --> 03:19:43,705 THE WAYS IN WHICH RELATE. 5670 03:19:43,771 --> 03:19:47,342 ALSO INFORMED BY CONTEXT. 5671 03:19:47,408 --> 03:19:48,009 CONTEXT OF THE PARTICULAR 5672 03:19:48,076 --> 03:19:49,477 SITUATION WHERE SOMEONE ENGAGES 5673 03:19:49,544 --> 03:19:53,715 IN A MUSICAL ACTIVITY AND BUILT 5674 03:19:53,781 --> 03:19:55,316 BY OUR DESIRE AND AGENCY. 5675 03:19:55,383 --> 03:19:57,018 AROUND THE CENTER OR PERIMETER 5676 03:19:57,085 --> 03:20:01,522 OF THIS AESTHETIC WAY OF BEING 5677 03:20:01,589 --> 03:20:04,058 OF ENGAGING WITH MUSIC-BASED 5678 03:20:04,125 --> 03:20:08,463 WORK WE'RE THINKING HOW 5679 03:20:08,529 --> 03:20:11,065 MUSIC-BASED EXPERIENCE IS AT THE 5680 03:20:11,132 --> 03:20:12,700 CENTER AND GOES TO KEY 5681 03:20:12,767 --> 03:20:14,902 DIMENSIONS OF THE WORK. 5682 03:20:14,969 --> 03:20:17,538 WE HAVE THE CLINICIAN OR 5683 03:20:17,605 --> 03:20:18,673 THERAPEUTIC RELATIONSHIP THE 5684 03:20:18,740 --> 03:20:22,443 ENGAGEMENT AND INTERACTION. 5685 03:20:22,510 --> 03:20:24,679 ALSO THE PARTICIPANTS INTERNAL 5686 03:20:24,746 --> 03:20:26,647 AND EXTERNAL RESOURCES WHETHER 5687 03:20:26,714 --> 03:20:30,251 THAT BE SOURCES OF STRENGTH OR 5688 03:20:30,318 --> 03:20:31,719 COMMUNAL PROCESSES AND PRACTICES 5689 03:20:31,786 --> 03:20:35,823 THAT ARE INFORMING THEIR WORK. 5690 03:20:35,890 --> 03:20:37,592 ALSO THE RESEARCHER OR 5691 03:20:37,658 --> 03:20:39,193 PARTICIPANTS OR THE 5692 03:20:39,260 --> 03:20:40,261 PRACTITIONERS AND PERSON 5693 03:20:40,328 --> 03:20:41,629 ORIENTED AND SKILL. 5694 03:20:41,696 --> 03:20:43,331 ALL THESE THINGS ARE INFORMING 5695 03:20:43,398 --> 03:20:44,966 HOW WE CAN WORK TOGETHER AND 5696 03:20:45,032 --> 03:20:47,335 MOVE TOGETHER THROUGH SPACES AND 5697 03:20:47,402 --> 03:20:51,773 IF DONE WELL HOPEFULLY WE HAVE 5698 03:20:51,839 --> 03:20:53,775 CULTURALLY SUSTAINING PRACTICE 5699 03:20:53,841 --> 03:20:55,176 THAT GUIDES OR SUPPORTS THE 5700 03:20:55,243 --> 03:20:56,310 CLIENT, THE PATIENT, THE 5701 03:20:56,377 --> 03:20:59,180 PARTICIPANT TO BE ABLE TO 5702 03:20:59,247 --> 03:20:59,847 TRANSFER THIS IN THE CONTEXT OF 5703 03:20:59,914 --> 03:21:05,253 WHICH THEY LIVE. 5704 03:21:05,319 --> 03:21:07,188 ADDS WE THINK OF THESE 5705 03:21:07,255 --> 03:21:09,323 INTERACTING TOGETHER AND WILL BE 5706 03:21:09,390 --> 03:21:10,091 AMPLIFIED WITH EACH PRESENTATION 5707 03:21:10,158 --> 03:21:12,527 TO COME I WANT US TO THINK HOW 5708 03:21:12,593 --> 03:21:13,094 THEY'RE TELLING A SINGULAR 5709 03:21:13,161 --> 03:21:19,634 STORY. 5710 03:21:19,700 --> 03:21:21,836 THIS INTEGRATED OR EMERGENT AND 5711 03:21:21,903 --> 03:21:24,672 INTEGRATED WAY OF APPROACHING 5712 03:21:24,739 --> 03:21:30,678 RESEARCH FROM AN AESTHETIC 5713 03:21:30,745 --> 03:21:31,312 PRACTICE. 5714 03:21:31,379 --> 03:21:34,015 IT HONORS THE ARTISTIC 5715 03:21:34,081 --> 03:21:35,216 REFLECTION OF AN EXPERIENCE 5716 03:21:35,283 --> 03:21:38,319 WHERE ARTIST AND PRACTITIONER IS 5717 03:21:38,386 --> 03:21:39,253 ABLE TO THINK ABOUT THE USE OF 5718 03:21:39,320 --> 03:21:41,856 THE WORK AND THE DIMENSIONS OF 5719 03:21:41,923 --> 03:21:46,828 THE WORK ARE INFLUENCED BY THEIR 5720 03:21:46,894 --> 03:21:53,367 OWN MUSICAL STYLES AND 5721 03:21:53,434 --> 03:21:59,974 PREFERENCES AND AS AN IMPERATIVE 5722 03:22:00,041 --> 03:22:03,511 AND IT'S MULTIDIMENSIONAL AND AS 5723 03:22:03,578 --> 03:22:04,479 WE TALK ABOUT WHAT HAPPENS 5724 03:22:04,545 --> 03:22:06,681 WITHIN A THERAPEUTIC CONTEXT OR 5725 03:22:06,747 --> 03:22:09,350 ONE ROOM WE KNOW THAT DOESN'T 5726 03:22:09,417 --> 03:22:12,487 DISMISS THE THINGS THAT HAPPEN 5727 03:22:12,553 --> 03:22:14,188 IN A BROADER SOCIETY AND RELATED 5728 03:22:14,255 --> 03:22:16,123 TO THE GLOBAL EXPERIENCE OF 5729 03:22:16,190 --> 03:22:18,159 POLITICS, POWER, JOY, RESILIENCY 5730 03:22:18,226 --> 03:22:19,927 AND SUPPORT WE SEE IN THE WORLD. 5731 03:22:19,994 --> 03:22:22,563 AND WE'RE THINKING HOW OR WORK 5732 03:22:22,630 --> 03:22:23,564 IS THEORETICALLY ENGAGED. 5733 03:22:23,631 --> 03:22:27,702 HOW EACH WORK OR EACH 5734 03:22:27,768 --> 03:22:32,240 PRESENTATION HAS DIFFERENT UNDER 5735 03:22:32,306 --> 03:22:36,677 PINNINGS THAT MAY AMPLIFY THAT 5736 03:22:36,744 --> 03:22:44,852 THINKS HOW IT EXISTS FOR 5737 03:22:44,919 --> 03:22:46,354 RESEARCHERS AND SCHOLARS IT HAS 5738 03:22:46,420 --> 03:22:49,423 BEEN AND CONTINUES TO BE A 5739 03:22:49,490 --> 03:22:50,658 NEEDED AREA TO EXPLORE 5740 03:22:50,725 --> 03:22:53,127 THROUGHOUT OUR WORK. 5741 03:22:53,194 --> 03:22:54,862 AS WE BEGIN TO NAVIGATE THESE 5742 03:22:54,929 --> 03:22:58,299 AREAS I'D LIKE US TO HOLD THESE 5743 03:22:58,366 --> 03:22:59,200 THINGS AS WE MOVE THROUGHOUT THE 5744 03:22:59,267 --> 03:22:59,734 SESSION. 5745 03:22:59,800 --> 03:23:09,977 THANK YOU. 5746 03:23:28,362 --> 03:23:28,930 >> GOOD AFTERNOON. 5747 03:23:28,996 --> 03:23:33,134 I'M PLEASED TO SHARE OUR WORK 5748 03:23:33,200 --> 03:23:36,704 TITLED E HEALTH MINDFULNESS 5749 03:23:36,771 --> 03:23:39,707 BASED MUSIC THERAPY FOR 5750 03:23:39,774 --> 03:23:47,748 INTERVENTION FORRALO -- ALOE 5751 03:23:47,815 --> 03:23:48,549 GENEIC STEM CELL TRANSPLANT. 5752 03:23:48,616 --> 03:23:50,585 THE AUTHORIZES HAVE NO CONFLICT 5753 03:23:50,651 --> 03:23:52,286 OF INTEREST TO REPORT. 5754 03:23:52,353 --> 03:23:54,689 MINDFULNESS IS THE PRACTICE OF 5755 03:23:54,755 --> 03:23:55,323 PAYING ATTENTION TO THE PRESENT 5756 03:23:55,389 --> 03:24:05,533 MOMENT. 5757 03:24:05,766 --> 03:24:09,003 AND BRING ATTENTION BACK TO THE 5758 03:24:09,070 --> 03:24:11,505 BREATH AS A STIMULUS AND SOUNDS 5759 03:24:11,572 --> 03:24:13,674 AND MUSIC CAN SERVE AS A 5760 03:24:13,741 --> 03:24:15,710 STIMULUS AND THAT STIMULUS IS 5761 03:24:15,776 --> 03:24:22,083 WHAT THIS PROJECT IS BUILT UPON. 5762 03:24:22,149 --> 03:24:24,719 MUSIC IS A PARTICULARLY SALIENT 5763 03:24:24,785 --> 03:24:28,155 AS TEMPORAL WITH SOUNDS HAVING 5764 03:24:28,222 --> 03:24:33,060 BEGINS, DURATIONS AND DECAYS. 5765 03:24:33,127 --> 03:24:35,730 A STEM CELL TRANSPLANT IS A 5766 03:24:35,796 --> 03:24:38,432 HIGHLY CHALLENGING CANCER 5767 03:24:38,499 --> 03:24:39,734 TREATMENT THAT INCLUDES HIGH 5768 03:24:39,800 --> 03:24:42,436 DOSE CHEMOTHERAPY AND/OR 5769 03:24:42,503 --> 03:24:44,271 RADIATION AND CAUSES 5770 03:24:44,338 --> 03:24:46,507 PSYCHOSOCIAL SYMPTOMS, PAIN, 5771 03:24:46,574 --> 03:24:48,309 FATIGUE, DISTRESS IN THE PERI 5772 03:24:48,376 --> 03:24:50,211 TRANSPLANT PERIOD AND CAN 5773 03:24:50,277 --> 03:24:51,779 PERSIST FOR YEARS POST 5774 03:24:51,846 --> 03:24:52,747 TRANSPLANT IMPACTING THE PATIENT 5775 03:24:52,813 --> 03:24:55,750 QUALITY OF LIFE AND FUNCTIONING. 5776 03:24:55,816 --> 03:24:57,985 THE DEVELOPMENT OF INTEGRATIVE 5777 03:24:58,052 --> 03:25:03,491 MEDICINE INTERVENTIONS SUCH AS 5778 03:25:03,557 --> 03:25:06,027 MBMT HAVE THE POTENTIAL TO 5779 03:25:06,093 --> 03:25:09,030 REDUCE SYMPTOMS AND IMPROVE LIFE 5780 03:25:09,096 --> 03:25:11,732 AND AMELIORATE DISEASE IN THIS 5781 03:25:11,799 --> 03:25:12,366 POPULATION. 5782 03:25:12,433 --> 03:25:13,768 IT COMBINES ELEMENTS OF MUSIC 5783 03:25:13,834 --> 03:25:16,570 THERAPY AND MUSIC ENGAGEMENT AND 5784 03:25:16,637 --> 03:25:20,708 MUSIC ASSISTED RELAXATION WITH 5785 03:25:20,775 --> 03:25:22,476 MINDFULNESS SUCH AS AWARENESS 5786 03:25:22,543 --> 03:25:23,744 AND ATTENTION REGULATION. 5787 03:25:23,811 --> 03:25:27,181 MY PRIOR WORK WITH MBMT EXAMINED 5788 03:25:27,248 --> 03:25:32,553 THE IMPACT OF THE PROGRAM WITH 5789 03:25:32,620 --> 03:25:36,424 WOMEN WITH BREAST CANCER AND 5790 03:25:36,490 --> 03:25:37,158 DECREASES IN SYMPTOM DISTRESS 5791 03:25:37,224 --> 03:25:39,160 AMONG OTHERS. 5792 03:25:39,226 --> 03:25:41,862 IN ADDITION TO MY PREVIOUS WORK 5793 03:25:41,929 --> 03:25:42,496 STUDIES EXAMINING THIS 5794 03:25:42,563 --> 03:25:43,798 INTERVENTION WITH YOUNG ADULTS 5795 03:25:43,864 --> 03:25:44,932 WITH CANCER FOUND DECREASES IN 5796 03:25:44,999 --> 03:25:48,202 DEPRESSION AND ANXIETY. 5797 03:25:48,269 --> 03:25:51,272 THIS WORK HAS BEEN DOCUMENTED AS 5798 03:25:51,338 --> 03:25:53,407 WELL AS STUDIES OF 5799 03:25:53,474 --> 03:25:54,508 MINDFULNESS FOR RESEARCH FROM 5800 03:25:54,575 --> 03:25:57,812 OUR TEAM AND WHAT IS NOT YET 5801 03:25:57,878 --> 03:26:02,983 DOCUMENTED IS E HEALTH MBMT 5802 03:26:03,050 --> 03:26:11,459 INTERVENTION TAILORED TO ALLOSET 5803 03:26:11,525 --> 03:26:13,294 PATIENT NEEDS ARE TO CONDUCT 5804 03:26:13,360 --> 03:26:14,895 FOCUS GROUPS FOR THE USABILITY 5805 03:26:14,962 --> 03:26:17,465 AND FIELD TESTING TO FACILITATE 5806 03:26:17,531 --> 03:26:20,968 THE E HEALTH INTERFACE, CONDUCT 5807 03:26:21,035 --> 03:26:24,171 A PILOT RCT OF 50 PATIENTS TO 5808 03:26:24,238 --> 03:26:26,340 IDENTIFY THE PROGRAM COMPONENTS 5809 03:26:26,407 --> 03:26:27,408 SUCH AS MUSIC LISTENING AND 5810 03:26:27,475 --> 03:26:27,908 ENGAGE 5811 03:26:27,975 --> 03:26:29,977 THE THAT IMPACT HEALTH RELATED 5812 03:26:30,044 --> 03:26:31,746 QUALITY OF LIFE, SYMPTOM BURDEN 5813 03:26:31,812 --> 03:26:36,917 AND DISEASE ACTIVITY. 5814 03:26:36,984 --> 03:26:42,757 EVALUATE THE EXTENT IN WHICH 5815 03:26:42,823 --> 03:26:47,194 IMPROVEMENTS ARE MEDIATED IN 5816 03:26:47,261 --> 03:26:47,495 ADAPTATION. 5817 03:26:47,561 --> 03:26:50,865 IN AIMS 4 AND 5 WE CONDUCT A 5818 03:26:50,931 --> 03:26:54,702 LARGER FULLY POWERED RCT WITH 5819 03:26:54,769 --> 03:26:55,503 150 PARTICIPANTS TO EXAMINE THE 5820 03:26:55,569 --> 03:26:59,974 PRELIMINARY EFFICACY OF THE 5821 03:27:00,040 --> 03:27:01,876 EMBMT VERSUS COMPARISON 5822 03:27:01,942 --> 03:27:03,410 CONDITION MINDFUL MEDITATION 5823 03:27:03,477 --> 03:27:05,479 ALONE AND IMPROVING 5824 03:27:05,546 --> 03:27:06,714 HEALTH-RELATED QUALITY OF LIFE, 5825 03:27:06,781 --> 03:27:09,750 SYMPTOM BURDEN AND DISEASE 5826 03:27:09,817 --> 03:27:11,185 ACTIVITY AND PSYCHOSOCIAL, FOR 5827 03:27:11,252 --> 03:27:14,021 EXAMPLE, DEPRESSION, ANXIETY AND 5828 03:27:14,088 --> 03:27:16,323 PHYSIOLOGICAL ADAPTATION SUCH AS 5829 03:27:16,390 --> 03:27:18,526 MEASURES OF INFLAMMATION 5830 03:27:18,592 --> 03:27:19,727 ASSOCIATED WITH SYMPTOM BURDEN 5831 03:27:19,794 --> 03:27:21,195 AND RECONSTRUCTION CRUCIAL FOR 5832 03:27:21,262 --> 03:27:23,731 THE PATIENT POPULATION GIVEN THE 5833 03:27:23,798 --> 03:27:26,634 TREATMENT THEY RECEIVE. 5834 03:27:26,700 --> 03:27:27,935 I'LL BE DISCUSSING AIMS 1 5835 03:27:28,002 --> 03:27:38,279 THROUGH 3 TODAY. 5836 03:27:43,651 --> 03:27:45,920 WE'VE COMPLETED AIM 1 AND 5837 03:27:45,986 --> 03:27:46,987 QUALITATIVE FEEDBACK FROM FOCUS 5838 03:27:47,054 --> 03:27:50,724 GROUPS ON EXPERIENCES WITH LOSET 5839 03:27:50,791 --> 03:27:53,227 AND CONDUCTED USE AND FIELD 5840 03:27:53,294 --> 03:27:54,895 TESTING TO EVALUATE THE 5841 03:27:54,962 --> 03:27:56,764 ATTRIBUTES OF SYSTEM USABILITY 5842 03:27:56,831 --> 03:28:01,769 INCLUDING LEARNABILITY, 5843 03:28:01,836 --> 03:28:03,737 EFFECTIVENESS, EFFICIENCY, 5844 03:28:03,804 --> 03:28:05,239 MEMORY AND SATISFACTION AND 5845 03:28:05,306 --> 03:28:06,974 ASSESS TECHNICAL AND FUNCTIONAL 5846 03:28:07,041 --> 03:28:08,409 ABILITY. 5847 03:28:08,475 --> 03:28:11,812 BASED ON THE ANALYSIS WE 5848 03:28:11,879 --> 03:28:14,048 REFINALIZED THE INTERFACE FOR 5849 03:28:14,114 --> 03:28:16,083 THE PROGRAM AND THE COMPARISON 5850 03:28:16,150 --> 03:28:21,121 CONDITION. 5851 03:28:21,188 --> 03:28:23,257 THE FOCUS GROUP RESPONSES USING 5852 03:28:23,324 --> 03:28:26,493 A STRUCTURED INTERVIEW WERE FROM 5853 03:28:26,560 --> 03:28:30,431 11 PATIENTS WITH LOSET AND 50% 5854 03:28:30,497 --> 03:28:33,434 FEMALE AND MOSTLY WHITE AND 72% 5855 03:28:33,500 --> 03:28:33,701 HISPANIC. 5856 03:28:33,767 --> 03:28:35,035 THEY EXTREMELY VALUABLE. 5857 03:28:35,102 --> 03:28:37,605 THE PARTICIPANTS SHARED THE MANY 5858 03:28:37,671 --> 03:28:39,006 CHALLENGES IN THEIR TREATMENT 5859 03:28:39,073 --> 03:28:39,240 JOURNEY. 5860 03:28:39,306 --> 03:28:40,474 WE IDENTIFIED FIVE THEMES. 5861 03:28:40,541 --> 03:28:43,878 THEY SHARED THE INITIAL SHOCK OF 5862 03:28:43,944 --> 03:28:44,845 THE CANCER DIAGNOSIS AND 5863 03:28:44,912 --> 03:28:46,947 DISTRESS OVER UNFAVORABLE 5864 03:28:47,014 --> 03:28:47,181 OUTCOME. 5865 03:28:47,248 --> 03:28:48,182 PARTICIPANTS VOICE THE 5866 03:28:48,249 --> 03:28:50,017 CHALLENGES ASSOCIATED WITH 5867 03:28:50,084 --> 03:28:51,752 HOSPITALIZATION, LOSS OF 5868 03:28:51,819 --> 03:28:54,688 NORMALCY AND ADJUSTMENT TO LIFE 5869 03:28:54,755 --> 03:28:55,656 AFTER TREATMENT. 5870 03:28:55,723 --> 03:28:58,592 THEY REPORTED NEEDING COPING 5871 03:28:58,659 --> 03:29:01,395 STRATEGIES FOR LIVING WITH 5872 03:29:01,462 --> 03:29:03,364 HEMATOLOGIC CANCER AND OPEN TO 5873 03:29:03,430 --> 03:29:05,699 USING MINDFULNESS AND MUSIC 5874 03:29:05,766 --> 03:29:06,700 THERAPY TO COPING WITH CANCER 5875 03:29:06,767 --> 03:29:09,970 AND THE FIFTH THEME WAS SPECIFIC 5876 03:29:10,037 --> 03:29:14,275 TO THE MTMB PROGRAM. 5877 03:29:14,341 --> 03:29:17,478 100% OF TASKS WERE COMPLETED 5878 03:29:17,544 --> 03:29:21,515 WITH HIGH USER SATISFACTION AND 5879 03:29:21,582 --> 03:29:22,716 FOUND AREAS NEEDING TO BE 5880 03:29:22,783 --> 03:29:22,983 MODIFIED. 5881 03:29:23,050 --> 03:29:24,785 THEY SUGGESTED EARLY SESSIONS IN 5882 03:29:24,852 --> 03:29:27,755 THE EARLY POST-TRANSPLANT PERIOD 5883 03:29:27,821 --> 03:29:29,590 AS THEY FELT WIPED OUT FROM TIME 5884 03:29:29,657 --> 03:29:35,296 OF ENGRAFTMENT TO DISCHARGE AND 5885 03:29:35,362 --> 03:29:37,231 WANT REDUCED TEXT AND MORE 5886 03:29:37,298 --> 03:29:39,733 OPTIONS FOR PREFERRED MUSIC AND 5887 03:29:39,800 --> 03:29:40,901 INCLUDE PATIENT REPRESENTATION. 5888 03:29:40,968 --> 03:29:43,270 THEY SHOULD PICTURES SHOULD 5889 03:29:43,337 --> 03:29:44,104 REFLECT CANCER PATIENTS AND NOT 5890 03:29:44,171 --> 03:29:45,806 WELL ADULTS. 5891 03:29:45,873 --> 03:29:47,808 BASED ON OUR FINDINGS FROM OUR 5892 03:29:47,875 --> 03:29:50,144 QUALITATIVE DATA, WE MADE THE 5893 03:29:50,210 --> 03:29:50,778 FOLLOWING MODIFICATIONS. 5894 03:29:50,844 --> 03:29:52,913 WE REVISED THE TIMING OF THE 5895 03:29:52,980 --> 03:29:54,715 SESSIONS BASED ON THE PATIENT'S 5896 03:29:54,782 --> 03:29:56,317 TREATMENT TRAJECTORY. 5897 03:29:56,383 --> 03:29:58,385 WE IMPLEMENTED MORE AUDIO AND 5898 03:29:58,452 --> 03:30:00,921 VIDEO CLIPS TO REDUCE TEXT. 5899 03:30:00,988 --> 03:30:03,724 MORE RELATABLE CONTENT WAS ADDED 5900 03:30:03,791 --> 03:30:05,626 SUCH AS THE OBJECTIVES AN 5901 03:30:05,693 --> 03:30:07,761 BENEFITS OF EACH SESSION AND 5902 03:30:07,828 --> 03:30:09,029 REDUCED TECHNICAL LANGUAGE. 5903 03:30:09,096 --> 03:30:16,103 WE CONNECTED MINDFULNESS 5904 03:30:16,170 --> 03:30:17,471 ALTITUDES TO THE PATIENT'S 5905 03:30:17,538 --> 03:30:20,741 EXPERIENCE AND AFTER ENGRAFTMENT 5906 03:30:20,808 --> 03:30:25,079 PATIENTS HAVE LITTLE ENERGY AND 5907 03:30:25,145 --> 03:30:27,748 PASSIVE MUSIC EMPHASIZED 5908 03:30:27,815 --> 03:30:31,719 RELAXATION AND INCORPORATED 5909 03:30:31,785 --> 03:30:34,555 MUSIC PREFERENCES AND 5910 03:30:34,621 --> 03:30:36,690 IMPLEMENTED PICTURES OF CANCER 5911 03:30:36,757 --> 03:30:42,596 PARTICIPANTS AND HIRED A 5912 03:30:42,663 --> 03:30:43,130 BILINGUAL MUSIC THERAPIST. 5913 03:30:43,197 --> 03:30:53,307 WE CAPITAL ED -- CAPITALIZED 5914 03:30:53,374 --> 03:30:55,743 AN EXISTING PLATFORM AND HERE'S 5915 03:30:55,809 --> 03:30:57,578 SCREEN SHOTS OF THE PLATFORM 5916 03:30:57,644 --> 03:31:00,881 CALLED SMART MANAGE. 5917 03:31:00,948 --> 03:31:05,019 IT'S MUSIC THERAPISTS WITH THE 5918 03:31:05,085 --> 03:31:06,720 PLATFORM EMPHASISING ATTITUDES 5919 03:31:06,787 --> 03:31:09,456 SUCH AS NON-JUDGING, LETTING, 5920 03:31:09,523 --> 03:31:09,923 GO, ETCETERA. 5921 03:31:09,990 --> 03:31:11,592 AND PARTICIPANTS CAN GO INTO 5922 03:31:11,658 --> 03:31:13,761 LISTEN TO MUSIC RECORDINGS, READ 5923 03:31:13,827 --> 03:31:16,764 TEXT, AUDIO AND TYPE IN 5924 03:31:16,830 --> 03:31:17,965 RESPONSES FOR DAILY PRACTICE. 5925 03:31:18,032 --> 03:31:20,534 AS AN EXAMPLE OF THE CONTENT 5926 03:31:20,601 --> 03:31:23,737 WITHIN THE NON-JUDGING ATTITUDE 5927 03:31:23,804 --> 03:31:26,373 THE SESSION BRINGS AN AWARENESS 5928 03:31:26,440 --> 03:31:29,143 TO ONE'S SPOT WITHOUT JUDGING OR 5929 03:31:29,209 --> 03:31:30,711 REACTING TO THE THOUGHTS AS 5930 03:31:30,778 --> 03:31:32,279 HABITUAL REACTION CAN LEAD TO 5931 03:31:32,346 --> 03:31:32,513 STRESS. 5932 03:31:32,579 --> 03:31:33,847 IN THE SESSION, PARTICIPANTS 5933 03:31:33,914 --> 03:31:36,216 LISTENED TO CONTRASTING PIECES 5934 03:31:36,283 --> 03:31:39,720 OF MUSIC AND DISCUSSION WITH THE 5935 03:31:39,787 --> 03:31:41,789 MUSIC THERAPIST THEIR INITIAL 5936 03:31:41,855 --> 03:31:44,558 RESPONSES, GOOD, BAD, LIKE, 5937 03:31:44,625 --> 03:31:48,729 DISLIKE AND WHAT THEY HEARD 5938 03:31:48,796 --> 03:31:52,499 GUITAR DYNAMIC AND PERHAPS A 5939 03:31:52,566 --> 03:31:54,535 MEMORY, BODY RESPONSE OR 5940 03:31:54,601 --> 03:31:55,402 JUDGMENT ABOUT THEMSELVES. 5941 03:31:55,469 --> 03:31:59,039 THE PRACTICE OF AWARENESS IN THE 5942 03:31:59,106 --> 03:31:59,740 MUSIC AND SELF ARE TRANSFERRED 5943 03:31:59,807 --> 03:32:03,677 TO SITUATIONS OUTSIDE THE 5944 03:32:03,744 --> 03:32:04,745 SESSION THEY EXPERIENCE AS 5945 03:32:04,812 --> 03:32:06,046 PLEASANT OR UNPLEASANT. 5946 03:32:06,113 --> 03:32:07,614 AND THEY BECOME HOME WORK FOR 5947 03:32:07,681 --> 03:32:08,148 THE WEEK. 5948 03:32:08,215 --> 03:32:10,317 THE AIM OF THE SESSION IS TO 5949 03:32:10,384 --> 03:32:12,853 BECOME AN OBJECTIVE BYSTANDER TO 5950 03:32:12,920 --> 03:32:13,587 ONE'S THOUGHTS. 5951 03:32:13,654 --> 03:32:15,522 THE HOME WORK IS TO PRACTICE THE 5952 03:32:15,589 --> 03:32:16,890 AWARENESS IN THE MUSIC AND 5953 03:32:16,957 --> 03:32:18,725 AWARENESS OF THEIR JUDGING 5954 03:32:18,792 --> 03:32:20,527 DURING THE WEEK AND SHARE IT 5955 03:32:20,594 --> 03:32:21,328 WITH THE MUSIC THERAPIST IN THE 5956 03:32:21,395 --> 03:32:29,036 NEXT SESSION. 5957 03:32:29,103 --> 03:32:30,871 THERE WAS GUIDED MUSIC LISTENING 5958 03:32:30,938 --> 03:32:35,742 AND MUSIC-ASSISTED RELAXATION 5959 03:32:35,809 --> 03:32:42,483 AND VOCAL IMPROVISATION AND 5960 03:32:42,549 --> 03:32:47,621 WE'RE TRANSITIONING TO THE R61. 5961 03:32:47,688 --> 03:32:51,125 WE HYPOTHESIZE THE MBMT AND MM 5962 03:32:51,191 --> 03:32:53,093 CONDITION WILL BE FEASIBLE AND 5963 03:32:53,160 --> 03:32:56,497 ACCEPTABLE FOR PATIENTS 5964 03:32:56,563 --> 03:33:06,740 UNDERGOING L ALLO-SCT AND WILL 5965 03:33:06,807 --> 03:33:09,276 SHOW MORE ROBUST MEASURES FROM 5966 03:33:09,343 --> 03:33:12,412 BASELINE TO DISCHARGE AND POST 5967 03:33:12,479 --> 03:33:14,815 ENGRAFTMENT AND EXPECT THE 5968 03:33:14,882 --> 03:33:15,849 RELATED IMPROVEMENTS AND QUALITY 5969 03:33:15,916 --> 03:33:17,484 OF LIFE AND SYMPTOM BURDEN AND 5970 03:33:17,551 --> 03:33:19,019 DISEASE ACTIVITY WILL BE 5971 03:33:19,086 --> 03:33:23,023 MEDIATED BY IMPROVEMENTS IN THE 5972 03:33:23,090 --> 03:33:25,626 PSYCHOSOCIAL AND PHYSICAL 5973 03:33:25,692 --> 03:33:27,728 ADAPTATION. 5974 03:33:27,794 --> 03:33:30,097 STUDY INCLUSION CRITERIA INCLUDE 5975 03:33:30,164 --> 03:33:34,134 ADULTS WITH A SCHEDULED ALLO-SCT 5976 03:33:34,201 --> 03:33:35,736 AND FLUENT IN ENGLISH OR 5977 03:33:35,802 --> 03:33:39,173 SPANISH. 5978 03:33:39,239 --> 03:33:43,010 OUR FUTURE DIRECTION IS BUILD ON 5979 03:33:43,076 --> 03:33:47,748 AN INFORMED PHASE TO CONDUCT A 5980 03:33:47,814 --> 03:33:50,651 FULLY POWERED RCT FOR THE R33 5981 03:33:50,717 --> 03:33:50,851 PHASE. 5982 03:33:50,918 --> 03:33:54,121 THERE MAY BE MODIFICATIONS BASED 5983 03:33:54,188 --> 03:33:56,123 ON THE INITIAL R61 PHASE. 5984 03:33:56,190 --> 03:33:58,225 WE'LL ALSO EXAMINE WHETHER 5985 03:33:58,292 --> 03:34:00,727 PSYCHOSOCIAL AND PHYSIOLOGICAL 5986 03:34:00,794 --> 03:34:02,262 MECHANISMS MEDIATE THE AFFECT OF 5987 03:34:02,329 --> 03:34:05,265 THE MBMT COMPONENTS ON THE 5988 03:34:05,332 --> 03:34:06,266 HEALTH-RELATED QUALITY OF LIFE, 5989 03:34:06,333 --> 03:34:08,802 SYMPTOM BURDEN AND DISEASE. 5990 03:34:08,869 --> 03:34:11,004 THIS SLIDE SHOWS A STUDY 5991 03:34:11,071 --> 03:34:14,942 MEASURES OF THE LARGER RCT. 5992 03:34:15,008 --> 03:34:18,045 IN ADDITION TO OUR P.I., WE HAVE 5993 03:34:18,111 --> 03:34:19,613 A MULTI-DISCIPLINARY TEAM THAT 5994 03:34:19,680 --> 03:34:22,516 INCLUDES ONCOLOGISTS, 5995 03:34:22,583 --> 03:34:24,885 PSYCHOLOGISTS, MUSIC THERAPISTS, 5996 03:34:24,952 --> 03:34:27,721 STATISTI 5997 03:34:27,788 --> 03:34:28,055 STATISTICIANS. 5998 03:34:28,121 --> 03:34:38,298 THANK YOU. 5999 03:34:50,644 --> 03:34:51,845 >> HI. 6000 03:34:51,912 --> 03:34:58,719 GOOD AFTERNOON. 6001 03:34:58,785 --> 03:35:01,355 THANK YOU SO MUCH TO THE NIH FOR 6002 03:35:01,421 --> 03:35:03,724 SUPPORTING THE AFOREMENTIONED 6003 03:35:03,790 --> 03:35:13,967 RESEARCH. 6004 03:35:14,635 --> 03:35:18,739 THE RESEARCH WE EMBARKED UPON IS 6005 03:35:18,805 --> 03:35:23,710 TRULY INTEGRATIVE IN WORKING 6006 03:35:23,777 --> 03:35:29,049 WITH COLLEAGUES WE'VE BEEN 6007 03:35:29,116 --> 03:35:30,717 PUTTING TOGETHER THIS PROJECT 6008 03:35:30,784 --> 03:35:35,956 FOR TWO YEARS. 6009 03:35:36,023 --> 03:35:38,025 I THINK IT'S IMPORTANT WHEN WE 6010 03:35:38,091 --> 03:35:41,862 TALK ABOUT INTEGRATION TO WORK 6011 03:35:41,928 --> 03:35:44,865 WITH A TEAM BEFORE I START YOUR 6012 03:35:44,931 --> 03:35:45,132 RESEARCH. 6013 03:35:45,198 --> 03:35:52,072 SO I'M PROUD TO TALK ABOUT THIS 6014 03:35:52,139 --> 03:35:52,272 TODAY. 6015 03:35:52,339 --> 03:36:01,982 THAT BEGAN YOU CAN I MOVED TO 6016 03:36:02,049 --> 03:36:02,783 PENN STATION IN NEW YORK CITY 6017 03:36:02,849 --> 03:36:05,285 AND ON THE TV WHICH WAS WORKING 6018 03:36:05,352 --> 03:36:09,756 THEY TALKED ABOUT PREGNANT BLACK 6019 03:36:09,823 --> 03:36:12,392 WOMEN DO YOU KNOW MORE THAN HALF 6020 03:36:12,459 --> 03:36:15,729 OF BLACK PREGNANT WOMEN DON'T 6021 03:36:15,796 --> 03:36:20,100 MAKE IT TO TERM WITH THEIR 6022 03:36:20,167 --> 03:36:21,501 BABIES? 6023 03:36:21,568 --> 03:36:24,438 MEANING, THEY DON'T HAVE THE 6024 03:36:24,504 --> 03:36:29,443 DREAM THEY VISUALIZED. 6025 03:36:29,509 --> 03:36:32,713 WHY IN IT'S NOT JUST BECAUSE 6026 03:36:32,779 --> 03:36:33,347 THEY'RE MISSING MUSIC. 6027 03:36:33,413 --> 03:36:38,151 YOU CAN MAKE A CASE FOR THAT IN 6028 03:36:38,218 --> 03:36:39,653 ANOTHER CONFERENCE BUT 6029 03:36:39,720 --> 03:36:47,060 TRADITIONS OF BLACK MUSIC AS WE 6030 03:36:47,127 --> 03:36:52,466 HEARD TODAY, HOW COME THESE 6031 03:36:52,532 --> 03:36:54,868 WOMEN CAN'T HAVE THEIR DREAM? 6032 03:36:54,935 --> 03:36:55,969 AS THE CHRONIC STRESS. 6033 03:36:56,036 --> 03:37:06,580 READ THE LITERATURE AND READ HOW 6034 03:37:06,947 --> 03:37:13,353 WOMEN COULD BE TREATED IN THEIR 6035 03:37:13,420 --> 03:37:15,722 HEALTH SYSTEM AND I'M GOING TO 6036 03:37:15,789 --> 03:37:19,726 HELP US LOOK AT SOME OF THE 6037 03:37:19,793 --> 03:37:24,731 RESEARCH IN TERMS OF SOMETHING 6038 03:37:24,798 --> 03:37:31,505 NEW AND EXCITING CALLED 6039 03:37:31,571 --> 03:37:32,539 METABOLOMICS. 6040 03:37:32,606 --> 03:37:38,111 WE'LL STUDY TOGETHER METABOLOMIC 6041 03:37:38,178 --> 03:37:48,722 PATHWAYS UNDERSTANDING CHRONIC 6042 03:37:51,258 --> 03:37:54,528 STRESS IN BLACK PREGNANT WOMEN. 6043 03:37:54,594 --> 03:38:00,534 IT PLAYS A ROLE AND CROSS 6044 03:38:00,600 --> 03:38:00,934 CULTURES. 6045 03:38:01,001 --> 03:38:06,640 THE QUESTION IS THERE IS AN 6046 03:38:06,706 --> 03:38:08,809 ASSOCIATION BETWEEN CHRONIC 6047 03:38:08,875 --> 03:38:11,478 STRESS AND THE CAPACITY FOR 6048 03:38:11,545 --> 03:38:18,718 BLACK PREGNANT WOMEN TO GET TO 6049 03:38:18,785 --> 03:38:23,757 TERM AS LOUIS ARMSTRONG IS MY 6050 03:38:23,824 --> 03:38:27,360 BOSS FOR 30 YEARS I FEEL BLESSED 6051 03:38:27,427 --> 03:38:28,829 FOR DOING THIS RESEARCH BUT I 6052 03:38:28,895 --> 03:38:34,067 CAN'T DO IT BY MYSELF. 6053 03:38:34,134 --> 03:38:42,642 SO THERE'S GOOD QUESTIONS 6054 03:38:42,709 --> 03:38:44,611 BECAUSE OUR TEAM THAT 6055 03:38:44,678 --> 03:38:50,283 SPECIALIZES IN METABOLICS AT 6056 03:38:50,350 --> 03:38:54,187 EMORY AND DR. CORBETT AND MYSELF 6057 03:38:54,254 --> 03:38:59,726 ARE DIGGING INTO PAST RESEARCH 6058 03:38:59,793 --> 03:39:01,294 ON METABOLOMICS. 6059 03:39:01,361 --> 03:39:02,062 IT'S SEXY. 6060 03:39:02,128 --> 03:39:11,872 IT'S PRECISION MEDICINE. 6061 03:39:11,938 --> 03:39:13,340 WHAT IS METABOLOMICS? 6062 03:39:13,406 --> 03:39:15,742 THE STUDY OF CELLS AND BIO 6063 03:39:15,809 --> 03:39:18,378 FLUIDS AND STUDY OF TISSUES. 6064 03:39:18,445 --> 03:39:25,819 ALL THESE THINGS ARE INTEGRATED 6065 03:39:25,886 --> 03:39:29,222 IN HELPING US STUDY WHO DEVELOPS 6066 03:39:29,289 --> 03:39:31,691 DISEASE AND WHO DOES NOT. 6067 03:39:31,758 --> 03:39:32,859 WE'RE INDIVIDUALS. 6068 03:39:32,926 --> 03:39:36,763 EACH OF US RESPOND TO MEDICINE 6069 03:39:36,830 --> 03:39:42,736 DIFFERENTLY TO TIMING OF 6070 03:39:42,802 --> 03:39:44,938 INTERVENTIONS DIFFERENTLY. 6071 03:39:45,005 --> 03:39:47,374 FROM WHERE I STAND THIS IS ALL 6072 03:39:47,440 --> 03:39:47,574 MUSIC. 6073 03:39:47,641 --> 03:39:55,415 THE PROTEINS, ALL THIS 6074 03:39:55,482 --> 03:39:59,185 CONTRIBUTES TO HOW METABOLITES 6075 03:39:59,252 --> 03:40:02,822 ARE READ AND I'M EXCITED WE'RE 6076 03:40:02,889 --> 03:40:06,293 COMBINING THE LIVE MUSIC THERAPY 6077 03:40:06,359 --> 03:40:11,731 WITH THE MECHANISMS INVOLVED IN 6078 03:40:11,798 --> 03:40:19,172 READING METABOLITES. 6079 03:40:19,239 --> 03:40:20,440 THIS FIELD REVOLUTIONARY TO SOME 6080 03:40:20,507 --> 03:40:22,709 OF YOU. 6081 03:40:22,776 --> 03:40:25,745 THERE'S SO MANY SMART PEOPLE 6082 03:40:25,812 --> 03:40:26,246 HERE. 6083 03:40:26,313 --> 03:40:31,551 BUT UNDERSTANDING SCIENCE 6084 03:40:31,618 --> 03:40:35,622 COMBINED WITH THE ARTISTRY 6085 03:40:35,689 --> 03:40:36,756 EXPRESSED SO BEAUTIFULLY THIS 6086 03:40:36,823 --> 03:40:42,762 MORNING ESPECIALLY IN CULTURE, 6087 03:40:42,829 --> 03:40:46,466 HELPS US UNDERSTAND INDIVIDUALLY 6088 03:40:46,533 --> 03:40:49,469 AND SCIENTIFICALLY. 6089 03:40:49,536 --> 03:40:59,746 SO METABOLICS IS AN EMERGING 6090 03:40:59,813 --> 03:41:01,681 TECHNOLOGY AND TURNS OUT MORE 6091 03:41:01,748 --> 03:41:09,956 THAN 50,000 METABOLITES AND 6092 03:41:10,023 --> 03:41:12,525 THEY'RE SHOWING DIFFERENCES IN 6093 03:41:12,592 --> 03:41:17,497 HOW WE'RE PROJECTED TO DEVELOP 6094 03:41:17,564 --> 03:41:19,366 DISEASES AND HOW FURTHERMORE HOW 6095 03:41:19,432 --> 03:41:27,707 DISEASES INFLUENCE OUR FUNCTION. 6096 03:41:27,774 --> 03:41:30,777 I LIKE METABOLICS AS A MIDDLE 6097 03:41:30,844 --> 03:41:32,479 CHILD BECAUSE IT INVOLVES 6098 03:41:32,545 --> 03:41:34,848 INTEGRATION. 6099 03:41:34,914 --> 03:41:38,818 INTEGRATION OF THINGS LIKE 6100 03:41:38,885 --> 03:41:40,353 GENES, PROTEINS MICROBIOTICS. 6101 03:41:40,420 --> 03:41:45,659 ALL THE THINGS THAT HELP US ALL 6102 03:41:45,725 --> 03:41:47,727 AT ONCE IN THE SYSTEMS OF OUR 6103 03:41:47,794 --> 03:41:53,166 BODIES. 6104 03:41:53,233 --> 03:41:55,735 AND WHAT IS ASSOCIATED WITH 6105 03:41:55,802 --> 03:42:03,743 CHRONIC ARE PRONOUNCED AND 6106 03:42:03,810 --> 03:42:10,583 DEVELOPING THE PROPOSAL FOR THE 6107 03:42:10,650 --> 03:42:11,151 RO1, THANK YOU. 6108 03:42:11,217 --> 03:42:14,921 WE TOGETHER PUBLISHED AN ARTICLE 6109 03:42:14,988 --> 03:42:22,996 HOW WE WILL STUDY THIS. 6110 03:42:23,063 --> 03:42:24,564 WE KNOW WHAT INFLUENCES 6111 03:42:24,631 --> 03:42:30,770 PREGNANCY AND KNOW STRESSORS OF 6112 03:42:30,837 --> 03:42:34,374 THE ENVIRONMENT OF LIVING 6113 03:42:34,441 --> 03:42:40,880 SITUATION AND GENETICS AND 6114 03:42:40,947 --> 03:42:43,016 EPIGENETICS AND THE GENERAL 6115 03:42:43,083 --> 03:42:48,021 POPULATION IN GETTING TO TERM. 6116 03:42:48,088 --> 03:42:55,729 THIS HAS BEEN PROVEN BUT LET'S 6117 03:42:55,795 --> 03:42:56,496 GO FURTHER HOW MUSIC CAN 6118 03:42:56,563 --> 03:42:57,063 INFLUENCE THIS. 6119 03:42:57,130 --> 03:43:03,169 I'M EXCITED BY THIS PROJECT. 6120 03:43:03,236 --> 03:43:05,538 I'VE READ WORK AND THERE'S BLACK 6121 03:43:05,605 --> 03:43:11,277 MUSIC THERAPY NETWORK THAT 6122 03:43:11,344 --> 03:43:14,080 PUBLISHED INFLUENCE AND HISTORY 6123 03:43:14,147 --> 03:43:17,751 OF MUSIC IN BLACK PREGNANT 6124 03:43:17,817 --> 03:43:18,418 WOMEN. 6125 03:43:18,485 --> 03:43:24,257 WHY DON'T WE RESEARCH NUMBERS? 6126 03:43:24,324 --> 03:43:25,692 WHY CAN'T WE RESEARCH HISTORY OF 6127 03:43:25,759 --> 03:43:25,892 MUSIC? 6128 03:43:25,959 --> 03:43:31,598 I HAVE THE GOOD FORTUNE TO WORK 6129 03:43:31,664 --> 03:43:34,501 WITH THE CONCEPT OF SOCIAL 6130 03:43:34,567 --> 03:43:34,701 MUSIC. 6131 03:43:34,768 --> 03:43:38,104 THIS AFFECTS HOW WE RESEARCH. 6132 03:43:38,171 --> 03:43:42,041 WE'RE GOING TO DIG DEEP AND 6133 03:43:42,108 --> 03:43:44,644 DELVE INTO THE THINGS OF 6134 03:43:44,711 --> 03:43:47,714 STRUGGLES OF THE PAST AND HOW 6135 03:43:47,781 --> 03:43:49,783 THEY'RE EXPRESSED THROUGH MUSIC. 6136 03:43:49,849 --> 03:43:51,918 BUT WE HAVE SENT YOU THIS 6137 03:43:51,985 --> 03:43:58,024 CAREFULLY. 6138 03:43:58,091 --> 03:44:00,760 MUSIC THERAPISTS ARE TRAINED TO 6139 03:44:00,827 --> 03:44:06,166 LOOK AT THE HISTORY OF 6140 03:44:06,232 --> 03:44:06,900 INDIVIDU 6141 03:44:06,966 --> 03:44:11,004 INDIVIDUALS WE DEVELOPED 6142 03:44:11,070 --> 03:44:11,971 PROTOCOLS FOR SLEEP. 6143 03:44:12,038 --> 03:44:17,443 SLEEP INFLUENCES STRESS. 6144 03:44:17,510 --> 03:44:23,249 WE HAVE TO TAKE PERSONAL 6145 03:44:23,316 --> 03:44:28,154 HISTORIES OF THE INDIVIDUALS AND 6146 03:44:28,221 --> 03:44:31,724 WE PULLED TOGETHER FOCUS GROUPS 6147 03:44:31,791 --> 03:44:33,426 AND LOOK AT BLACK PREGNANT WOMEN 6148 03:44:33,493 --> 03:44:35,595 OF THE PAST, PRESENT AND NOW AND 6149 03:44:35,662 --> 03:44:37,697 WE QUESTIONED WHAT WERE THE 6150 03:44:37,764 --> 03:44:39,732 BIGGEST STRUGGLED YOU WENT 6151 03:44:39,799 --> 03:44:45,572 THROUGH? 6152 03:44:45,638 --> 03:44:48,441 WHAT ARE THE SIGNIFICANT THEMES 6153 03:44:48,508 --> 03:44:50,476 AND THAT'S OUR FOCUS GROUP 6154 03:44:50,543 --> 03:44:50,710 LEADER. 6155 03:44:50,777 --> 03:44:53,112 THESE A MUSIC THERAPIST AND 6156 03:44:53,179 --> 03:44:58,184 SHE'S DONE LOTS OF FOCUS GROUPS. 6157 03:44:58,251 --> 03:45:04,190 WE ARE LOOKING AT ALL THE 6158 03:45:04,257 --> 03:45:11,731 RECORDINGS AND ANALYZING HOW DO 6159 03:45:11,798 --> 03:45:13,700 WE GET OUR SUBJECTS? 6160 03:45:13,766 --> 03:45:20,006 I HAVEN'T STUDIED ADVERTISING 6161 03:45:20,073 --> 03:45:21,941 BUT HAVING DONE A DECADE OF 6162 03:45:22,008 --> 03:45:28,615 RESEARCH I WANTED TO SHOW YOU 6163 03:45:28,681 --> 03:45:30,683 THAT OUR SURVEY OF A NAME FOR 6164 03:45:30,750 --> 03:45:34,787 OUR FOCUS GROUP AND BROCHURE 6165 03:45:34,854 --> 03:45:43,730 TURNED OUT TO BE AH MAMA -- M 6166 03:45:43,796 --> 03:45:45,965 MOMMA AND WE FEEL IT THE DRAW 6167 03:45:46,032 --> 03:45:47,433 BLACK PREGNANT WOMEN TO US AND 6168 03:45:47,500 --> 03:45:47,634 WHY? 6169 03:45:47,700 --> 03:45:49,035 WE RESEARCHED THEM. 6170 03:45:49,102 --> 03:45:51,237 WE NEED TO BRING CULTURE INTO 6171 03:45:51,304 --> 03:45:52,138 OUR RESEARCH AND NEED TO HEAR 6172 03:45:52,205 --> 03:45:57,477 MORE ABOUT THE CULTURE AND 6173 03:45:57,543 --> 03:46:01,681 HISTORY OF THE MUSIC I LIKE THAT 6174 03:46:01,748 --> 03:46:04,484 YOU CALL MUSIC SHE. 6175 03:46:04,550 --> 03:46:05,852 HOW INTERESTING. 6176 03:46:05,919 --> 03:46:07,520 I DID IT TODAY BUT I STILL LIKE 6177 03:46:07,587 --> 03:46:09,822 YOU CALLED IT SHE. 6178 03:46:09,889 --> 03:46:15,161 A GOOD BROCHURE GETS US SUBS OF 6179 03:46:15,228 --> 03:46:17,597 ALL PLACES, THE MORE PLACES THE 6180 03:46:17,664 --> 03:46:18,765 BROCHURES ARE PLACED THE MORE 6181 03:46:18,831 --> 03:46:26,639 INCLUSION. 6182 03:46:26,706 --> 03:46:32,545 WE HEARD LITTLE ABOUT THE MUSIC 6183 03:46:32,612 --> 03:46:37,850 INGREDIENTS AND START INTO 6184 03:46:37,917 --> 03:46:42,889 IDENTIFYING SOME THAT ARE 6185 03:46:42,956 --> 03:46:45,258 DIFFERENT, THANK YOU, AND 6186 03:46:45,325 --> 03:46:48,795 PATIENT PREFERRED MUSIC AND ANY 6187 03:46:48,861 --> 03:46:51,731 PERSON CAN PLAY. 6188 03:46:51,798 --> 03:46:54,667 THIS IS FOR THAT. 6189 03:46:54,734 --> 03:46:59,872 YOU SEE HISTORY, SLEEP AND ED TO 6190 03:46:59,939 --> 03:47:03,409 BLACK WOMEN'S PREGNANCY. 6191 03:47:03,476 --> 03:47:06,746 THANK YOU SO MUCH FOR ARE 6192 03:47:06,813 --> 03:47:10,283 LETTING ME SPEAK ABOUT THIS 6193 03:47:10,350 --> 03:47:20,526 RESEARCH 6194 03:47:34,807 --> 03:47:36,776 >> I'M GOING TO TALK TO YOU 6195 03:47:36,843 --> 03:47:39,712 ABOUT WALKING AMONG PEOPLE WITH 6196 03:47:39,779 --> 03:47:42,615 PARKINSON'S DISEASE AND USUALLY 6197 03:47:42,682 --> 03:47:45,118 THE EDGE OF PHYSICAL ACTIVITY 6198 03:47:45,184 --> 03:47:47,720 FOR PEOPLE WITH PARKINSON'S AND 6199 03:47:47,787 --> 03:47:49,255 THEY WERE ASKED WHICH ONES THEY 6200 03:47:49,322 --> 03:47:51,724 HAD TROUBLE WITH AND THE THINGS 6201 03:47:51,791 --> 03:47:55,328 THEY HAD THE MOST DIFFICULTY 6202 03:47:55,395 --> 03:47:56,462 WITH EARLY IN THE DISEASE WAS 6203 03:47:56,529 --> 03:47:56,696 WALKING. 6204 03:47:56,763 --> 03:47:59,565 THIS IS AN ISSUE BECAUSE WALKING 6205 03:47:59,632 --> 03:48:00,733 PROBLEMS AS WELL AS BALANCE 6206 03:48:00,800 --> 03:48:01,634 PROBLEMS CAN CONTRIBUTE TO FALLS 6207 03:48:01,701 --> 03:48:05,471 WHICH HAVE A NUMBER OF NEGATIVE 6208 03:48:05,538 --> 03:48:06,439 CONSEQUENCES CREATING THE 6209 03:48:06,506 --> 03:48:07,974 VICIOUS CYCLE WHICH LEADS TO 6210 03:48:08,041 --> 03:48:10,376 REDUCED QUALITY OF LIFE FOR 6211 03:48:10,443 --> 03:48:11,811 FOLKS AS WELL AS INCREASED RISK 6212 03:48:11,878 --> 03:48:12,712 OF MORTALITY. 6213 03:48:12,779 --> 03:48:15,381 AND WHEN WE ASKED PEOPLE WITH 6214 03:48:15,448 --> 03:48:17,817 PARKINSON'S WHAT THEY HOPE WILL 6215 03:48:17,884 --> 03:48:19,619 IMPROVE WITH TREATMENT, WALKING 6216 03:48:19,685 --> 03:48:20,820 COMES OUT ON TOP. 6217 03:48:20,887 --> 03:48:22,021 THIS IS WHY WE THINK IT'S AN 6218 03:48:22,088 --> 03:48:27,326 IMPORTANT ISSUE FOR US TO FOCUS 6219 03:48:27,393 --> 03:48:28,594 ON WITH OUR RESEARCH. 6220 03:48:28,661 --> 03:48:30,763 WHAT IS CHANGING IN THE WALKING 6221 03:48:30,830 --> 03:48:32,432 PATTERNS OF PEOPLE WITH 6222 03:48:32,498 --> 03:48:32,999 PARKINSON'S DISEASE. 6223 03:48:33,066 --> 03:48:34,167 SOME CHANGES ARE ILLUSTRATED 6224 03:48:34,233 --> 03:48:37,203 HERE IF YOU COMPARE THE FOOT 6225 03:48:37,270 --> 03:48:38,871 PRINTS ACROSS THE TOP FOR A 6226 03:48:38,938 --> 03:48:39,906 PERSON WITHOUT PARKINSON'S 6227 03:48:39,972 --> 03:48:41,841 DISEASE AND THOSE ON THE BOTTOM 6228 03:48:41,908 --> 03:48:43,376 OF A PERSON LIVING WITH 6229 03:48:43,443 --> 03:48:44,477 PARKINSON'S DISEASE. 6230 03:48:44,544 --> 03:48:47,346 THE PERSON WITH PARKINSON'S 6231 03:48:47,413 --> 03:48:50,249 DISEASE REQUIRE MORE STEPS TO 6232 03:48:50,316 --> 03:48:51,751 TRAVERSE THE DISTANCE AND 6233 03:48:51,818 --> 03:48:54,420 THEY'RE STEPS ARE SMALLER AND 6234 03:48:54,487 --> 03:48:55,388 LESS VARIABILITY AND LESS 6235 03:48:55,455 --> 03:48:56,989 CONSISTENCY FROM ONE STEP TO THE 6236 03:48:57,056 --> 03:49:00,760 NEXT AND THAT HAS BEEN LINKED TO 6237 03:49:00,827 --> 03:49:05,164 INCREASED RISK FOR THE FALLS 6238 03:49:05,231 --> 03:49:06,432 MENTIONED EARLIER. 6239 03:49:06,499 --> 03:49:11,370 WE'VE KNOWN SYNCHRONIZING FOOT 6240 03:49:11,437 --> 03:49:14,774 FALLS TO MUSIC HAS BEEN USED 6241 03:49:14,841 --> 03:49:15,708 THERAPEUTICALLY FOR SOME TIME 6242 03:49:15,775 --> 03:49:18,778 AND MAKES SENSE BECAUSE WE CAN 6243 03:49:18,845 --> 03:49:22,415 SYNCHRONIZE OUR MOVEMENTS TO 6244 03:49:22,482 --> 03:49:23,516 EXTERNAL AREAS OF MUSIC AND 6245 03:49:23,583 --> 03:49:25,017 AREAS OF THE BRAIN ARE LINKED 6246 03:49:25,084 --> 03:49:30,056 AND LISTENING TO MUSIC WITHOUT 6247 03:49:30,123 --> 03:49:33,292 MOVING AFFECTS AREAS OF THE 6248 03:49:33,359 --> 03:49:34,060 BRAIN RESPONSIBLE FOR MOVEMENT 6249 03:49:34,127 --> 03:49:34,427 CONTROL. 6250 03:49:34,494 --> 03:49:37,230 IT'S NOT PERFECT. 6251 03:49:37,296 --> 03:49:39,065 IT ONLY WORKS WHILE THE MUSIC IS 6252 03:49:39,132 --> 03:49:40,633 PLAYING AND REQUIRES SOMEONE TO 6253 03:49:40,700 --> 03:49:42,735 HAVE A DEVICE TO DELIVER THAT 6254 03:49:42,802 --> 03:49:43,736 MUSIC THEM. 6255 03:49:43,803 --> 03:49:45,671 IT DOESN'T ADAPT TO NEEDS IN THE 6256 03:49:45,738 --> 03:49:45,938 MOVEMENT. 6257 03:49:46,005 --> 03:49:47,707 IMAGINE IF YOU'RE USING A SONG 6258 03:49:47,773 --> 03:49:53,379 PLAYING AND YOU SUDDENLY CROSS 6259 03:49:53,446 --> 03:49:53,679 THE STREET. 6260 03:49:53,746 --> 03:49:58,117 IT WOULD BE NICE TO UP THE TEMPO 6261 03:49:58,184 --> 03:49:59,752 TO BEAT THE MUSIC BUT IT'S 6262 03:49:59,819 --> 03:50:00,753 SOMETIMES FIXED. 6263 03:50:00,820 --> 03:50:03,723 WE NEED THERAPIES MORE 6264 03:50:03,789 --> 03:50:06,759 ACCESSIBLE AND MORE ADAPTABLE IN 6265 03:50:06,826 --> 03:50:08,761 THE MOMENT AND LESS EXPENSIVE. 6266 03:50:08,828 --> 03:50:10,863 WE ASKED WHAT ABOUT SINGING AND 6267 03:50:10,930 --> 03:50:14,400 IN PERSONAL RHYTHM IN ADDITION 6268 03:50:14,467 --> 03:50:16,536 OR IN PLACE OF THE EXTERNAL 6269 03:50:16,602 --> 03:50:17,170 RHYTHM. 6270 03:50:17,236 --> 03:50:19,005 THIS MADE SENSE FOR A NUMBER OF 6271 03:50:19,071 --> 03:50:19,372 REASONS. 6272 03:50:19,438 --> 03:50:21,741 AMONG THE MOST INTERESTING IS 6273 03:50:21,807 --> 03:50:24,744 THE FACT ALL THE FEATURES ARE 6274 03:50:24,810 --> 03:50:27,079 IMPACTED BY THE PARKINSON'S 6275 03:50:27,146 --> 03:50:28,881 DISEASE PROCESS SINGING IS OFTEN 6276 03:50:28,948 --> 03:50:29,148 PRESERVED. 6277 03:50:29,215 --> 03:50:31,884 THEY ASKED PEOPLE TO LISTEN TO 6278 03:50:31,951 --> 03:50:33,886 RECORDINGS OF FOLKS SPEAKING OR 6279 03:50:33,953 --> 03:50:34,120 SINGING. 6280 03:50:34,187 --> 03:50:35,988 SOME PEOPLE HAD PARKINSON'S, 6281 03:50:36,055 --> 03:50:36,689 OTHERS DID NOT. 6282 03:50:36,756 --> 03:50:38,024 THOSE LISTENING TO THE 6283 03:50:38,090 --> 03:50:40,259 RECORDINGS WERE GOOD AT FIGURING 6284 03:50:40,326 --> 03:50:41,961 OUT WHO HAD PARKINSON'S WHEN 6285 03:50:42,028 --> 03:50:46,532 THEY WERE LISTENING TO SPOKEN 6286 03:50:46,599 --> 03:50:47,733 WORD BUT COULD NOT DISTINGUISH 6287 03:50:47,800 --> 03:50:48,534 BETWEEN PEOPLE SINGING. 6288 03:50:48,601 --> 03:50:50,069 AND AS WE LAUNCHED IN THE WORK 6289 03:50:50,136 --> 03:50:51,771 WE DISCOVERED MANY PEOPLE 6290 03:50:51,837 --> 03:50:54,073 FIGURED THIS OUT FOR THEMSELVES 6291 03:50:54,140 --> 03:51:00,746 ALREADY AND OFF THE -- OFTEN 6292 03:51:00,813 --> 03:51:04,650 WE'RE LINKED AND WE FACILITATE 6293 03:51:04,717 --> 03:51:05,518 MOVEMENT BY SINGING. 6294 03:51:05,585 --> 03:51:07,186 OUR FIRST STUDIES WERE ASKING IS 6295 03:51:07,253 --> 03:51:10,323 THIS A GOOD IDEA TO ASK PEOPLE 6296 03:51:10,389 --> 03:51:18,764 TO THINK ABOUT SINGING WHILE 6297 03:51:18,831 --> 03:51:18,965 WALK. 6298 03:51:19,031 --> 03:51:24,770 PEOPLE WITH PARKINSON'S CAN 6299 03:51:24,837 --> 03:51:27,540 SOMETIMES WALK MORE POORLY AND 6300 03:51:27,607 --> 03:51:27,940 HAVE DIFFICULTY. 6301 03:51:28,007 --> 03:51:29,742 WE HAD FOUR CONDITIONS. 6302 03:51:29,809 --> 03:51:31,244 WE HAD THEM WALK TO MUSIC AND 6303 03:51:31,310 --> 03:51:36,849 HAD THEM WALK WHILE SINGING A 6304 03:51:36,916 --> 03:51:42,888 SONG ALOUD AND A DUAL-TASK 6305 03:51:42,955 --> 03:51:44,590 CONDITION AND WALK AS NAME AS IN 6306 03:51:44,657 --> 03:51:46,759 WORDS THAT BEGAN WITH A 6307 03:51:46,826 --> 03:51:51,297 PARTICULAR LETTER. 6308 03:51:51,364 --> 03:51:57,336 ON THE TOP LEFT A PLOT OF 6309 03:51:57,403 --> 03:51:59,705 VELOCITY AND THERE WAS A DUAL 6310 03:51:59,772 --> 03:52:01,707 TASK CONDITION AND THE MUSIC 6311 03:52:01,774 --> 03:52:02,708 CONDITION AND PLUS SINGING 6312 03:52:02,775 --> 03:52:03,809 CONDITION AND THE SINGING 6313 03:52:03,876 --> 03:52:09,148 CONDITION WERE ALL FEASIBLE FOR 6314 03:52:09,215 --> 03:52:15,454 THESE FOLKS. 6315 03:52:15,521 --> 03:52:17,857 WITH SAW PEOPLE HAD THE LEAST 6316 03:52:17,923 --> 03:52:18,824 VARIABLE WALKING OR MOST 6317 03:52:18,891 --> 03:52:20,226 CONSISTENCY WHAT IS WHAT WE'RE 6318 03:52:20,293 --> 03:52:21,961 LOOKING FOR WHEN THEY WERE 6319 03:52:22,028 --> 03:52:27,033 SINGING THE SONG WITH MO MUSIC 6320 03:52:27,099 --> 03:52:34,373 PLAYING ACROSS TWO MEASURES OF 6321 03:52:34,440 --> 03:52:44,550 VARIABILITY. 6322 03:52:44,617 --> 03:52:47,186 RATHER THAN SINGING THE SONG 6323 03:52:47,253 --> 03:52:48,754 ALOUD YOU GENERATE IT IN YOUR 6324 03:52:48,821 --> 03:52:51,724 HEAD AND WE NOW INCLUDED PEOPLE 6325 03:52:51,791 --> 03:52:53,359 WITH AND WITHOUT PARKINSON'S 6326 03:52:53,426 --> 03:52:55,361 DISEASE SHOWN BY THE SOLID OR 6327 03:52:55,428 --> 03:52:56,128 DOTTED LINES AND LOOKED AT MUSIC 6328 03:52:56,195 --> 03:53:06,739 OR OMEN -- OR MENTAL SINGING 6329 03:53:10,376 --> 03:53:11,711 AND IT DIDN'T LOOK WHETHER THEY 6330 03:53:11,777 --> 03:53:12,978 HAD OR DID NOT HAVE PARKINSON'S 6331 03:53:13,045 --> 03:53:15,681 DISEASE. 6332 03:53:15,748 --> 03:53:16,982 INTERESTINGLY WHEN WE LOOKED AT 6333 03:53:17,049 --> 03:53:19,552 VARIABILITY WE STARTED TO SEE 6334 03:53:19,618 --> 03:53:20,152 DIFFERENCES ACROSS THE 6335 03:53:20,219 --> 03:53:21,620 CONDITIONS AGAIN AND WE SAW THAT 6336 03:53:21,687 --> 03:53:23,723 THE MENTAL SINGING CONDITION 6337 03:53:23,789 --> 03:53:25,424 COMPARED TO EITHER SINGING 6338 03:53:25,491 --> 03:53:28,627 ALLOWED OR WALKING TO THE BEAT 6339 03:53:28,694 --> 03:53:30,763 OF AN EXTERNAL MUSICAL SOURCE 6340 03:53:30,830 --> 03:53:35,701 WAS THE LEAST VARIABLE OR MOST 6341 03:53:35,768 --> 03:53:36,001 CONSISTENT. 6342 03:53:36,068 --> 03:53:41,474 THIS PUT US TOWARDS THIS MAY BE 6343 03:53:41,540 --> 03:53:44,276 A GOOD THINGS TO RECOMMEND AND 6344 03:53:44,343 --> 03:53:46,846 LED US TO SING FOR YOUR SAUNTER 6345 03:53:46,912 --> 03:53:48,748 BY AN R61 AND R33 AND THANK YOU 6346 03:53:48,814 --> 03:53:51,617 FOR THE OFFENDING OF THAT WHICH 6347 03:53:51,684 --> 03:53:52,852 ALLOWED US TO TAKE THE WORK TO 6348 03:53:52,918 --> 03:53:53,419 THE NEXT LEVEL. 6349 03:53:53,486 --> 03:53:55,588 THE WORK IS DONE BY A TEAM OF 6350 03:53:55,654 --> 03:53:59,024 PEOPLE AND YOU'LL SEE THE MAIN 6351 03:53:59,091 --> 03:54:01,794 PLAYERS AT THE TOP AND THE 6352 03:54:01,861 --> 03:54:03,729 POSTDOC AND THE MUSIC THERAPIST 6353 03:54:03,796 --> 03:54:05,264 AND MUSICAL THERAPIST. 6354 03:54:05,331 --> 03:54:06,699 SO FOR THIS PARTICULAR STUDY 6355 03:54:06,766 --> 03:54:08,000 WE'RE ASKING TWO MAIN QUESTIONS. 6356 03:54:08,067 --> 03:54:10,202 WHAT ARE THE NEURAL MECHANISMS, 6357 03:54:10,269 --> 03:54:12,171 WHAT'S GOING ON IN THE BRAIN 6358 03:54:12,238 --> 03:54:15,040 WHEN SOMEBODY IS MOVING TO MUSIC 6359 03:54:15,107 --> 03:54:19,178 FROM AN EXTERNAL SOURCE VERSUS 6360 03:54:19,245 --> 03:54:23,082 THEIR OWN MENTALLY SUNG SOURCE 6361 03:54:23,149 --> 03:54:25,651 AND CAN WE OPTIMIZE WALKING FOR 6362 03:54:25,718 --> 03:54:27,720 EACH PERSON LOOKING AT CHANGES 6363 03:54:27,787 --> 03:54:30,189 IN TEMPO AND THE ABILITY TO 6364 03:54:30,256 --> 03:54:31,724 CHOOSE DIFFERENT SONGS. 6365 03:54:31,791 --> 03:54:34,026 ALL THIS WORK USED ROW, ROW, ROW 6366 03:54:34,093 --> 03:54:35,728 YOUR BOAT AND WE WERE ALL SICK 6367 03:54:35,795 --> 03:54:43,903 OF HEARING THAT SONG. 6368 03:54:43,969 --> 03:54:50,042 THEY CAME INTO THE LAB FOR TWO 6369 03:54:50,109 --> 03:54:53,312 VISITS WE ASKED THEM TO WALK AND 6370 03:54:53,379 --> 03:54:55,714 TAP THEIR FINGERS FIRST WITH NO 6371 03:54:55,781 --> 03:55:05,991 CUES AND LOOK AT THE RATE AND 6372 03:55:06,058 --> 03:55:07,860 ASKED THEM TO WALK WITH MUSIC 6373 03:55:07,927 --> 03:55:11,263 PLAYING IN THE ROOM AND WITH A 6374 03:55:11,330 --> 03:55:11,664 SINGING CONDITION. 6375 03:55:11,730 --> 03:55:14,266 THEY CAME IN WHERE WE ASKED THEM 6376 03:55:14,333 --> 03:55:15,267 TO PERFORM MOVEMENTS TO MUSIC OR 6377 03:55:15,334 --> 03:55:23,676 MENTAL SINGING. 6378 03:55:23,742 --> 03:55:28,747 WHEN THEY'RE WALKING FIRST, HOW 6379 03:55:28,814 --> 03:55:36,755 FAST ARE THEY GOING AND ADJUST 6380 03:55:36,822 --> 03:55:41,794 THEM AND DECIDE AT WHICH TEMPO 6381 03:55:41,861 --> 03:55:44,897 TOOK THE LONGEST STEPS AND 6382 03:55:44,964 --> 03:55:49,034 CALLED THAT THE OPTIMIZED TEMPO 6383 03:55:49,101 --> 03:55:50,269 AND THEY COME BACK ON A SECOND 6384 03:55:50,336 --> 03:55:53,472 DAY AND DO THE TAPPING WITH 6385 03:55:53,539 --> 03:55:54,807 THEIR OPTIMIZED CUES IN THE 6386 03:55:54,874 --> 03:56:04,984 FMRI. 6387 03:56:12,758 --> 03:56:14,693 I'LL PLAY A CLIP AND JUST CLAP 6388 03:56:14,760 --> 03:56:16,028 TO THE BEAT AS THE MUSIC IS 6389 03:56:16,095 --> 03:56:26,238 PLAYING. 6390 03:56:40,753 --> 03:56:42,288 AND ASK YOU TO CLAP WITH THE 6391 03:56:42,354 --> 03:56:42,922 DIFFERENT RATE AS YOU SING 6392 03:56:42,988 --> 03:56:53,098 ALOUD. 6393 03:57:05,844 --> 03:57:10,749 >> FINAL IS MENTAL SINGING. 6394 03:57:10,816 --> 03:57:11,750 SING AND CLAP ALONG TO YOUR 6395 03:57:11,817 --> 03:57:22,027 MENTAL SONG. 6396 03:57:28,968 --> 03:57:29,535 >> VERY GOOD. 6397 03:57:29,602 --> 03:57:31,937 HAVE YOU A FEEL FOR THE TYPES OF 6398 03:57:32,004 --> 03:57:33,906 TASKS WE'RE ASKING PEOPLE TO DO. 6399 03:57:33,973 --> 03:57:39,078 I DO HAVE AN ULTERIOR MOTIVE. 6400 03:57:39,144 --> 03:57:40,879 I WANTED TO MAKE SURE PEOPLE 6401 03:57:40,946 --> 03:57:41,347 WOULD CLAP DURING MY 6402 03:57:41,413 --> 03:57:43,248 PRESENTATION SO THANK YOU FOR 6403 03:57:43,315 --> 03:57:43,449 THAT. 6404 03:57:43,515 --> 03:57:47,386 SO LET'S SEE THE RESULTS WE GOT. 6405 03:57:47,453 --> 03:57:49,121 WE SEE REGARDLESS OF WHETHER 6406 03:57:49,188 --> 03:57:50,889 WE'RE USING MUSIC OR MENTAL 6407 03:57:50,956 --> 03:57:52,091 SINGING OR REGARDLESS WHETHER 6408 03:57:52,157 --> 03:57:54,760 PEOPLE OR DO NOT HAVE 6409 03:57:54,827 --> 03:57:56,695 PARKINSON'S DISEASE SHOWED BY 6410 03:57:56,762 --> 03:57:59,498 THE BLACK OR RED GROUPS EVERYONE 6411 03:57:59,565 --> 03:58:01,433 CAN ADJUST BASED ON THE TEMPO 6412 03:58:01,500 --> 03:58:02,901 AND WALK MORE QUICKLY OR SLOWLY 6413 03:58:02,968 --> 03:58:06,772 AND TAKING A BIGGER OR SMALLER 6414 03:58:06,839 --> 03:58:06,972 STEPS. 6415 03:58:07,039 --> 03:58:09,775 WHEN WE LOOKED AT OPTIMIZED SONG 6416 03:58:09,842 --> 03:58:12,745 CHOICE ROW, ROW, ROW YOUR BOAT 6417 03:58:12,811 --> 03:58:14,847 IS AN OPTION AND YOU ARE MY 6418 03:58:14,913 --> 03:58:18,150 SUNSHINE IS COMING OUT ON TOP IN 6419 03:58:18,217 --> 03:58:19,685 THE CATALOG. 6420 03:58:19,752 --> 03:58:24,456 FOR MOST PEOPLE CUEING AT 120 6421 03:58:24,523 --> 03:58:27,393 STEPS PER MINUTE IS OPTIMAL AND 6422 03:58:27,459 --> 03:58:29,461 MEDIAN IS 135 BEATS PER MINUTE 6423 03:58:29,528 --> 03:58:39,805 AS AN IDEAL CUE. 6424 03:58:41,640 --> 03:58:43,475 FOR VELOCITY AND CADENCE WE HAVE 6425 03:58:43,542 --> 03:58:44,743 INCREASES IN IN THE MUSIC OR 6426 03:58:44,810 --> 03:58:45,678 MENTAL SINGING CONDITION. 6427 03:58:45,744 --> 03:58:46,779 DOESN'T MATTER. 6428 03:58:46,845 --> 03:58:48,847 THEY CAN GO FASTER WITH BIGGER 6429 03:58:48,914 --> 03:58:52,284 STEPS AND MORE STEPS PER MINUTE 6430 03:58:52,351 --> 03:58:53,719 REGARDLESS OF WHETHER IT'S MUSIC 6431 03:58:53,786 --> 03:58:55,621 OR MENTAL SINGING AND WE SEE 6432 03:58:55,688 --> 03:58:59,291 MEASURES OF VARIABILITY AND 6433 03:58:59,358 --> 03:59:04,563 LOOKS LIKE WHEN THEY'RE SINGING 6434 03:59:04,630 --> 03:59:07,700 THEIR AND MORE CONSISTENT THAN 6435 03:59:07,766 --> 03:59:11,236 SINGING IN THE MENTAL CONDITION 6436 03:59:11,303 --> 03:59:12,471 AND HOT OFF THE PRESS DATA FROM 6437 03:59:12,538 --> 03:59:13,372 THE BRAIN. 6438 03:59:13,439 --> 03:59:15,040 WHEN THEY'RE TAPPING AND 6439 03:59:15,107 --> 03:59:16,809 MENTALLY SINGING COMPARED TO 6440 03:59:16,875 --> 03:59:17,910 TAPPING WITH NO MUSIC OR NO 6441 03:59:17,976 --> 03:59:23,582 MENTAL SINGING THERE'S INCREASED 6442 03:59:23,649 --> 03:59:27,720 ACTIVITY IN THE PART OF THE 6443 03:59:27,786 --> 03:59:29,688 BASAL GANGLIA IMPACTED BY 6444 03:59:29,755 --> 03:59:31,724 PARKINSON'S DISEASE AND THE 6445 03:59:31,790 --> 03:59:33,692 AUDITORY CORTEX IS MORE ACTIVE 6446 03:59:33,759 --> 03:59:35,594 AND WHEN TAPPING TO MENTAL 6447 03:59:35,661 --> 03:59:36,762 SINGING COMPARED TO TAPPING TO 6448 03:59:36,829 --> 03:59:39,331 MUSIC WE SEE MORE ACTIVITY IN 6449 03:59:39,398 --> 03:59:43,102 THE REGION OF THE CEREBELLUM 6450 03:59:43,168 --> 03:59:44,503 CONTRARY TO OUR ORIGINAL 6451 03:59:44,570 --> 03:59:46,371 HYPOTHESIS AND WE'RE TRYING TO 6452 03:59:46,438 --> 03:59:48,774 FIGURE OUT AND EXCITED TO LAUNCH 6453 03:59:48,841 --> 03:59:54,513 IN JANUARY TO THE R33 AND WE'LL 6454 03:59:54,580 --> 04:00:05,023 BE TRAINING WE'RE LOOKING 6455 04:00:08,327 --> 04:00:10,429 FORWARD TO RINGING IN THE NEW 6456 04:00:10,496 --> 04:00:11,697 YEAR TO START SINGING IN THE NEW 6457 04:00:11,764 --> 04:00:21,874 YEAR. 6458 04:00:32,751 --> 04:00:33,552 >> GOOD AFTERNOON. 6459 04:00:33,619 --> 04:00:37,456 MY NAME IS CARLENE BROWN A 6460 04:00:37,523 --> 04:00:38,857 PROFESSOR OF MUSIC AND DIRECTOR 6461 04:00:38,924 --> 04:00:41,059 OF THE MUSIC THERAPY PROGRAM AT 6462 04:00:41,126 --> 04:00:43,395 SEATTLE MUSIC THERAPY AND A 6463 04:00:43,462 --> 04:00:54,006 BOARD CERTIFIED MUSIC THERAPIST. 6464 04:01:02,381 --> 04:01:04,683 IN THIS BRIEF TALK I'LL DESCRIBE 6465 04:01:04,750 --> 04:01:08,420 THE DESIGN OF A CURRENTLY 6466 04:01:08,487 --> 04:01:11,156 ONGOING R31 MUSIC AND 6467 04:01:11,223 --> 04:01:12,758 FEASIBILITY STUDY AND NOTE 6468 04:01:12,825 --> 04:01:14,326 FEEDBACK FROM PARTICIPANTS AND 6469 04:01:14,393 --> 04:01:15,727 OFFER INTRODUCTION TO THE 6470 04:01:15,794 --> 04:01:16,595 MUSICAL INSTRUMENT USED IN THE 6471 04:01:16,662 --> 04:01:17,262 STUDY. 6472 04:01:17,329 --> 04:01:19,698 I'D LIKE TO MAKE THIS PRESENCE 6473 04:01:19,765 --> 04:01:23,702 FROM THE VIEW POINT AS A MUSIC 6474 04:01:23,769 --> 04:01:29,341 THERAPIST. 6475 04:01:29,408 --> 04:01:38,617 THE BACKGROUND IS ACUTE AND 6476 04:01:38,684 --> 04:01:39,284 CHRONIC PAIN REMAIN CONCERNS AND 6477 04:01:39,351 --> 04:01:41,353 A GROWING BODY OF RESEARCH 6478 04:01:41,420 --> 04:01:44,623 INDICATES THAT LISTENING TO 6479 04:01:44,690 --> 04:01:46,024 CERTAIN SOUNDS INCLUDING 6480 04:01:46,091 --> 04:01:47,426 MONOCHROME BASED MUSIC CAN 6481 04:01:47,492 --> 04:01:48,327 REDUCE PAIN. 6482 04:01:48,393 --> 04:01:51,730 HOWEVER, LITTLE IS KNOWN ABOUT 6483 04:01:51,797 --> 04:01:54,766 THE MECHANISMS UNDERLYING THE 6484 04:01:54,833 --> 04:01:59,571 AFFECTS OF MUSIC ON PAIN. 6485 04:01:59,638 --> 04:02:02,140 THE STUDY WILL LOOK AT MUSIC 6486 04:02:02,207 --> 04:02:06,879 THERAPY AND MEDICINE ON AN 6487 04:02:06,945 --> 04:02:09,381 ELECTROENCEPHALO GRAM LOOKING AT 6488 04:02:09,448 --> 04:02:10,449 OSCILLATION POWER. 6489 04:02:10,515 --> 04:02:14,286 THE MUSIC THERAPY PROTOCOL 6490 04:02:14,353 --> 04:02:19,258 INCLUDES MY PRESENCE PLAYING THE 6491 04:02:19,324 --> 04:02:24,196 MUSICAL INSTRUMENT BODY TEMPOREA 6492 04:02:24,263 --> 04:02:26,765 AND THEY LISTEN TO MY READING OF 6493 04:02:26,832 --> 04:02:28,533 NARRATIVE TEXT. 6494 04:02:28,600 --> 04:02:29,968 PATIENTS LISTEN TO MUSIC OR THE 6495 04:02:30,035 --> 04:02:34,539 NAR JATED STORY FOR 15 MINUTES. 6496 04:02:34,606 --> 04:02:36,875 MEASURES OF DATA OSCILLATION 6497 04:02:36,942 --> 04:02:39,044 POWER ARE ASSESSED FIVE MINUTES 6498 04:02:39,111 --> 04:02:40,913 OF BASELINE AND DURING TREATMENT 6499 04:02:40,979 --> 04:02:42,748 AND FIVE MINUTES POST 6500 04:02:42,814 --> 04:02:46,385 INTERVENTION. 6501 04:02:46,451 --> 04:02:49,588 HOW DID THIS STUDY COME ABOUT? 6502 04:02:49,655 --> 04:02:59,731 THE R21 STUDY P.I. MET WITH A 6503 04:02:59,798 --> 04:03:03,702 COLLEAGUE AND LOOKED AT AN 6504 04:03:03,769 --> 04:03:06,772 INSTRUMENT POPULAR AND USED BY 6505 04:03:06,838 --> 04:03:10,609 MUSIC THERAPISTS IN EUROPE. 6506 04:03:10,676 --> 04:03:13,078 WHEN PLAYED LIVE THE MUSIC 6507 04:03:13,145 --> 04:03:17,482 PRODUCED BY THE BODY TAMBURA 6508 04:03:17,549 --> 04:03:19,384 REDUCED PAIN IN PALLIATIVE CARE 6509 04:03:19,451 --> 04:03:19,718 SETTINGS. 6510 04:03:19,785 --> 04:03:22,120 BASED ON PRIOR RESEARCH, ONE, 6511 04:03:22,187 --> 04:03:24,756 THE EFFECTS OF CHANGES IN EEG 6512 04:03:24,823 --> 04:03:29,061 ASSESSED ACTIVITIES OF PAIN AND 6513 04:03:29,127 --> 04:03:31,730 WE SEE AN INCREASE IN 6514 04:03:31,797 --> 04:03:36,935 INDIVIDUALS WHO REPORT DECREASES 6515 04:03:37,002 --> 04:03:47,379 IN PAIN AND WE SEE DATA POWER 6516 04:03:47,446 --> 04:03:51,750 WHEN PEOPLE HEAR MONOCHROME 6517 04:03:51,817 --> 04:03:54,753 SOUNDS AND AT THE BE EFFECTIVE 6518 04:03:54,820 --> 04:03:59,391 FOR REDUCING PAIN REDUCING 6519 04:03:59,458 --> 04:04:01,326 FRONTAL BETA POWER AND INITIATED 6520 04:04:01,393 --> 04:04:03,729 A RESEARCH PROGRAM TO TEST THIS 6521 04:04:03,795 --> 04:04:04,896 POSSIBILITY. 6522 04:04:04,963 --> 04:04:07,733 THE BODY TAMBURA IS AN 6523 04:04:07,799 --> 04:04:09,601 INSTRUMENT CREATED FOR THE FIELD 6524 04:04:09,668 --> 04:04:11,003 OF MUSIC THERAPY IN 2005. 6525 04:04:11,069 --> 04:04:15,907 IT'S MADE IN GERMANY AND 6526 04:04:15,974 --> 04:04:18,410 INSPIRED BY THE DESIGN OF THE 6527 04:04:18,477 --> 04:04:20,912 CLASSICAL INDIAN TAMBURA AND 6528 04:04:20,979 --> 04:04:23,181 DESIGN TO BE PLACED ON ONE'S 6529 04:04:23,248 --> 04:04:24,750 BODY BUT COULD BE ON A LAB, 6530 04:04:24,816 --> 04:04:25,917 TABLE OR FLOOR. 6531 04:04:25,984 --> 04:04:30,122 THE INSTRUMENT CONSISTS OF 6532 04:04:30,188 --> 04:04:32,457 LIGHTWEIGHT BODY EQUIPPED WITH A 6533 04:04:32,524 --> 04:04:35,727 CONTOURED BASE AND SOUNDING 6534 04:04:35,794 --> 04:04:36,328 BOARD FITTED WITH 28 STRINGDZ. 6535 04:04:36,395 --> 04:04:38,096 ZERO STRINGS. 6536 04:04:38,163 --> 04:04:40,699 ONE PLAYS THE STRINGS EVENLY 6537 04:04:40,766 --> 04:04:43,301 IT'S POSSIBLE TO VARY THE VOLUME 6538 04:04:43,368 --> 04:04:45,303 WITH TOUCH AND CREATES BEAUTIFUL 6539 04:04:45,370 --> 04:04:50,342 HARMONICS FOR THE LISTENER. 6540 04:04:50,409 --> 04:04:51,743 IN OUR STUDY I HAVE THE 6541 04:04:51,810 --> 04:04:54,146 INSTRUMENT ON MY LEFT AND FACING 6542 04:04:54,212 --> 04:04:55,147 THE PARTICIPANT WITH THE SOUND 6543 04:04:55,213 --> 04:04:56,314 FILLING THE ROOM. 6544 04:04:56,381 --> 04:04:57,649 TO LEAR WHAT THE INSTRUMENT 6545 04:04:57,716 --> 04:04:59,985 SOUNDS LIKE I'D LIKE TO PLAY A 6546 04:05:00,052 --> 04:05:01,820 30-SECOND EXERPT FROM OUR 6547 04:05:01,887 --> 04:05:02,621 RECORDING AND NOTE THAT THE 6548 04:05:02,687 --> 04:05:04,823 SOUND IN OUR STUDY IS MUCH MORE 6549 04:05:04,890 --> 04:05:15,367 INTIMATE IN A SMALLER SPACE. 6550 04:05:44,396 --> 04:05:46,665 IN ADDITION TO THE SELF-REPORT I 6551 04:05:46,731 --> 04:05:48,500 ASK EACH PARTICIPANT IF THEY'D 6552 04:05:48,567 --> 04:05:53,572 LIKE TO OFFER IMMEDIATE FEEDBACK 6553 04:05:53,638 --> 04:06:00,078 ABOUT THE EXPERIENCE DURING THE 6554 04:06:00,145 --> 04:06:00,312 SESSION. 6555 04:06:00,378 --> 04:06:04,649 I HEAR I HAVE USUALLY HAVE A 6556 04:06:04,716 --> 04:06:06,351 HARD TIME SLEEPING BUT I COULD 6557 04:06:06,418 --> 04:06:07,719 HARDLY STAY AWAKE. 6558 04:06:07,786 --> 04:06:08,987 I LIKED LISTENING TO IT. 6559 04:06:09,054 --> 04:06:10,255 IT WAS DIFFERENT. 6560 04:06:10,322 --> 04:06:12,524 I USUALLY LISTEN TO AMBIENT 6561 04:06:12,591 --> 04:06:12,724 MUSIC. 6562 04:06:12,791 --> 04:06:14,759 I WAS EXPECTING MORE FROM THE 6563 04:06:14,826 --> 04:06:15,727 INSTRUMENT HOWEVER, THIS 6564 04:06:15,794 --> 04:06:20,932 INDIVIDUAL WENT ON TO DISCUSS 6565 04:06:20,999 --> 04:06:22,634 THE MUSIC AT LENGTH AND AT THE 6566 04:06:22,701 --> 04:06:23,802 LEAST WAS DISTRACTING AND HAD 6567 04:06:23,869 --> 04:06:25,904 HIS ATTENTION. 6568 04:06:25,971 --> 04:06:27,472 I ALSO WANT TO NOTE WE ARE 6569 04:06:27,539 --> 04:06:29,574 RECEIVING MANY REQUESTS FOR 6570 04:06:29,641 --> 04:06:30,175 COPIES OF THE RECORDING FOR 6571 04:06:30,242 --> 04:06:39,718 PERSONAL USE AT HOME. 6572 04:06:39,784 --> 04:06:42,787 IF THEY'RE ANTICIPATED THEY'LL 6573 04:06:42,854 --> 04:06:47,025 INFORM A MORE RO1 STUDY WHERE 6574 04:06:47,092 --> 04:06:48,793 CHANGES IN OSCILLATION POWER 6575 04:06:48,860 --> 04:06:49,528 MEDIATE THE BENEFICIAL EFFECTS 6576 04:06:49,594 --> 04:06:56,101 OF MUSIC ON PAIN. 6577 04:06:56,168 --> 04:06:59,404 THE FUNDINGS WILL PROVIDE THE 6578 04:06:59,471 --> 04:07:03,074 MECHANISMS THAT UNDER LIE THE 6579 04:07:03,141 --> 04:07:05,577 EFFECT OF THERAPEUTIC MUSIC AND 6580 04:07:05,644 --> 04:07:07,112 PAIN AND TRANSFERRED TO CLINICAL 6581 04:07:07,179 --> 04:07:09,447 CARE THE KNOWLEDGE COULD HELP IN 6582 04:07:09,514 --> 04:07:11,049 PATIENT TREATMENT MATCHING 6583 04:07:11,116 --> 04:07:11,716 ENHANCING THE OVER ALL 6584 04:07:11,783 --> 04:07:13,985 EFFECTIVENESS FOR SOUND-BASED 6585 04:07:14,052 --> 04:07:16,121 INTERVENTIONS AND OTHER 6586 04:07:16,188 --> 04:07:17,189 NON-PHARMACOLOGIC TREATMENT MAY 6587 04:07:17,255 --> 04:07:19,124 OPERATE VIA AFFECTS OF BRAIN 6588 04:07:19,191 --> 04:07:29,668 ACTIVITY AS MEASURED BY EEG. 6589 04:07:30,368 --> 04:07:31,703 I'VE APPRECIATED BEING PART OF 6590 04:07:31,770 --> 04:07:32,637 THE RESEARCH TEAM. 6591 04:07:32,704 --> 04:07:34,573 FOR THE MUSIC MEDICINE SESSION 6592 04:07:34,639 --> 04:07:36,641 WE CHOSE THE SPEAKER CAREFULLY 6593 04:07:36,708 --> 04:07:38,476 FOR THE SIZE OF THE ROOM TO PLY 6594 04:07:38,543 --> 04:07:39,711 A RECORDING OF MY PLAYING THE 6595 04:07:39,778 --> 04:07:40,946 BODY TAMBURA. 6596 04:07:41,012 --> 04:07:43,381 FOR THE MUSIC THERAPY SESSION, 6597 04:07:43,448 --> 04:07:46,718 WHEN I ENTER THE ROOM I 6598 04:07:46,785 --> 04:07:47,519 INTRODUCE MYSELF AND THE 6599 04:07:47,586 --> 04:07:48,286 INSTRUMENT AND ASK THE 6600 04:07:48,353 --> 04:07:50,689 INDIVIDUAL IF THEY WOULD LIKE TO 6601 04:07:50,755 --> 04:07:52,924 TOUCH IT TO PLAY IT TO HEAR IT 6602 04:07:52,991 --> 04:07:55,126 SO AS TO NOT BE SURPRISED BY ITS 6603 04:07:55,193 --> 04:07:57,362 SOUND WHEN WE BEGIN. 6604 04:07:57,429 --> 04:08:02,400 I'M SEATED IN A CHAIR IN CLOSE 6605 04:08:02,467 --> 04:08:03,702 PROXIMITY TO THE INDIVIDUAL AND 6606 04:08:03,768 --> 04:08:05,937 HEAR THE TONE BUT NOT SO CLOSE 6607 04:08:06,004 --> 04:08:06,771 AS TO THREATEN THEIR SPATIAL 6608 04:08:06,838 --> 04:08:11,443 BOUNDARIES. 6609 04:08:11,509 --> 04:08:12,544 WE LOWER THE RIGHTS IN THE ROOM 6610 04:08:12,611 --> 04:08:15,280 WHEN THE MUSIC IS PLAYING. 6611 04:08:15,347 --> 04:08:17,315 I BEGIN PLAYING THE INSTRUMENT 6612 04:08:17,382 --> 04:08:18,783 QUIETLY TO FILL THE ROOM WITH 6613 04:08:18,850 --> 04:08:20,418 SOUND AND WATCH THE INDIVIDUAL'S 6614 04:08:20,485 --> 04:08:22,053 BODY LANGUAGE AND TAKE THIS INTO 6615 04:08:22,120 --> 04:08:24,823 ACCOUNT AS I PLAYED TO MAXIMIZE 6616 04:08:24,889 --> 04:08:26,091 THEIR POSITIVE RESPONSE. 6617 04:08:26,157 --> 04:08:31,863 SPECIFICALLY, TO HELP THEM RELAX 6618 04:08:31,930 --> 04:08:35,867 IF POSSIBLE OR MAKE THE SOUND TO 6619 04:08:35,934 --> 04:08:37,836 DRAW THEIR ATTENTIONS TO THE 6620 04:08:37,902 --> 04:08:40,672 SOUNDS AND PRESUMABLY AWAY FROM 6621 04:08:40,739 --> 04:08:42,774 AWARENESS OF UNPLEASANT 6622 04:08:42,841 --> 04:08:51,683 SENATIONS. 6623 04:08:51,750 --> 04:08:54,252 I'M FASCINATED OF WHAT TAKES 6624 04:08:54,319 --> 04:08:56,221 PLACE IN ONE'S BRAIN WHAT IS 6625 04:08:56,288 --> 04:08:58,423 TAKEN IN AND HOW POSITIVE 6626 04:08:58,490 --> 04:09:02,193 RESPONSE TO MUSIC COULD BE UNDER 6627 04:09:02,260 --> 04:09:06,698 ONE'S CONTROL AND REPLICATED 6628 04:09:06,765 --> 04:09:10,468 UPON DEMAND BY THE INDIVIDUAL 6629 04:09:10,535 --> 04:09:12,804 AND BY OTHERS AND I'M OF THE 6630 04:09:12,871 --> 04:09:14,306 LACK OF SCIENTIFIC KNOWLEDGE 6631 04:09:14,372 --> 04:09:16,875 ABOUT THE MUSIC USED IN RESEARCH 6632 04:09:16,941 --> 04:09:17,242 STUDIES. 6633 04:09:17,309 --> 04:09:19,477 THERE ARE VERY FEW WORDS TO 6634 04:09:19,544 --> 04:09:20,278 DESCRIBE THE MEDIUM. 6635 04:09:20,345 --> 04:09:26,785 WE STILL DO NOT HAVE A CLEAR 6636 04:09:26,851 --> 04:09:27,719 BASIS FOR CHOOSING THE MUSIC 6637 04:09:27,786 --> 04:09:33,558 WITH THE MOST FITS ON HEALTH. 6638 04:09:33,625 --> 04:09:39,097 DO WE USE A SOLO INSTRUMENT OR 6639 04:09:39,164 --> 04:09:41,032 ENSEMBLE OR WITH OR WITHOUT 6640 04:09:41,099 --> 04:09:43,902 LYRICS AND CHANGES IN TEMPO, 6641 04:09:43,968 --> 04:09:46,805 DYNAMICS, RHYTHM OR MELODY. 6642 04:09:46,871 --> 04:09:50,141 DO WE USE MUSIC THAT HAS MEANING 6643 04:09:50,208 --> 04:09:51,876 TO ELICIT AN AFFECTIVE RESPONSE? 6644 04:09:51,943 --> 04:09:54,779 DO WE USE LIVE OR RECORDED 6645 04:09:54,846 --> 04:09:55,613 MUSIC? 6646 04:09:55,680 --> 04:09:58,116 THESE ARE EXAMPLES OF FACTORS 6647 04:09:58,183 --> 04:09:59,050 INVOLVED IN CHOOSING MUSIC TO 6648 04:09:59,117 --> 04:10:00,518 MAKE A DIFFERENCE IN HOW AN 6649 04:10:00,585 --> 04:10:03,722 INDIVIDUAL CAN BE AFFECTED BY 6650 04:10:03,788 --> 04:10:06,491 THE SOUNDS THEY ARE HEARING. 6651 04:10:06,558 --> 04:10:08,660 REPORTING DETAILS ON THE MUSIC 6652 04:10:08,727 --> 04:10:10,228 IN PUBLISHED REPORTS CAN ALLOW 6653 04:10:10,295 --> 04:10:11,830 OTHERS TO REFINE OUR EFFORTS IN 6654 04:10:11,896 --> 04:10:14,833 UNDERSTANDING THE DYNAMICS OF 6655 04:10:14,899 --> 04:10:16,801 MUSIC ON HUMAN RESPONSE. 6656 04:10:16,868 --> 04:10:18,770 IT WOULD BE INEFFICIENT FOR OUR 6657 04:10:18,837 --> 04:10:21,873 TEAM TO REPORT, FOR EXAMPLE, 6658 04:10:21,940 --> 04:10:23,708 MUSIC WAS SHOWN TO HAVE A 6659 04:10:23,775 --> 04:10:25,343 POSITIVE INFLUENCE ON PAIN 6660 04:10:25,410 --> 04:10:26,745 MANAGEMENT IN THIS CONTEXT AND 6661 04:10:26,811 --> 04:10:32,384 THEN MOVE ON TO THE DETAILS OF 6662 04:10:32,450 --> 04:10:42,627 THE DATA. 6663 04:10:46,531 --> 04:10:51,035 AS A MUSICAL THERAPIST AND LIFE 6664 04:10:51,102 --> 04:10:52,470 LONG PHYSICIAN I EXPERIENCED THE 6665 04:10:52,537 --> 04:10:54,806 CHANGES IN STATE OF BEING BY 6666 04:10:54,873 --> 04:10:56,508 SIMPLY OR ENGAGING WITH MUSIC. 6667 04:10:56,574 --> 04:10:59,711 WE STILL HAVE A LOT TO LEARN AND 6668 04:10:59,778 --> 04:11:03,515 GOOD REASONS TO DO SO. 6669 04:11:03,581 --> 04:11:05,350 THE FINAL SLIDE ACKNOWLEDGE THE 6670 04:11:05,417 --> 04:11:07,018 FUNDING FOR THE PROJECT AND TEAM 6671 04:11:07,085 --> 04:11:08,353 FOR THE NATIONAL CENTER FOR 6672 04:11:08,420 --> 04:11:09,888 COMPLEMENTARY AND WHY IT GRATIVE 6673 04:11:09,954 --> 04:11:11,723 MEDICINE. 6674 04:11:11,790 --> 04:11:22,300 THANK YOU FOR YOUR ATTENTION. 6675 04:11:31,843 --> 04:11:32,944 >> SUCH WONDERFUL PRESENTATIONS. 6676 04:11:33,011 --> 04:11:36,214 I HOPE YOU'RE AS ENLIGHTED AS I 6677 04:11:36,281 --> 04:11:38,349 AM TO BE AT THE FOREFRONT OF 6678 04:11:38,416 --> 04:11:40,285 MUSIC RESEARCH. 6679 04:11:40,351 --> 04:11:42,821 WE'LL CONTINUE OUR CONVERSATION 6680 04:11:42,887 --> 04:11:45,423 REGARDING MUSIC THE RESEARCH IN 6681 04:11:45,490 --> 04:11:50,762 MUSIC THERAPY AND MEDICINE. 6682 04:11:50,829 --> 04:11:54,332 WE'LL FIRST HEAR FROM THE 6683 04:11:54,399 --> 04:12:04,943 PANELISTS MALLITA BELGRAVE FROM 6684 04:12:05,410 --> 04:12:06,811 ARIZONA STATE UNIVERSITY AND 6685 04:12:06,878 --> 04:12:10,515 CONNIE TOMAINO AND MICHAEL 6686 04:12:10,582 --> 04:12:15,720 STANLEY FROM BRIGHAM AND WOMEN'S 6687 04:12:15,787 --> 04:12:18,623 HOSPITAL. 6688 04:12:18,690 --> 04:12:28,032 MARIA GONSALVES SCHIMPF AND 6689 04:12:28,099 --> 04:12:38,610 PANAGIS GALIATSATOS AND LORI 6690 04:12:39,844 --> 04:12:40,311 GOODING FROM FLORIDA STATE OF 6691 04:12:40,378 --> 04:12:50,588 UNIVERSITY. 6692 04:12:59,531 --> 04:13:00,031 >> I NEEDED DIRECTION. 6693 04:13:00,098 --> 04:13:03,701 I WROTE DOWN MY TALKING POINTS. 6694 04:13:03,768 --> 04:13:07,572 MY NAME IS MELITA BELGRAVE AND 6695 04:13:07,639 --> 04:13:11,709 WORK WITH OLDER ADULTS AND USE 6696 04:13:11,776 --> 04:13:14,345 APPROACH TO IMPROVE THE 6697 04:13:14,412 --> 04:13:18,683 COGNITIVE AND SOCIAL SKILLS IN 6698 04:13:18,750 --> 04:13:20,318 SETTINGS AND PRIMARILY USE HUMAN 6699 04:13:20,385 --> 04:13:22,320 IDENTITY AND SOCIALISM TO ENGAGE 6700 04:13:22,387 --> 04:13:24,822 OLDER ADULTS IN WELLNESS 6701 04:13:24,889 --> 04:13:26,291 SETTINGS AND INTERGENERATIONAL 6702 04:13:26,357 --> 04:13:29,794 PROGRAMS AND OLDER ADULTS WITH 6703 04:13:29,861 --> 04:13:34,532 DEMENTIA AND OLDER ADULTS 6704 04:13:34,599 --> 04:13:36,768 NEARING END OF LIFE. 6705 04:13:36,834 --> 04:13:40,138 I ENJOY IN COLLABORATIVE 6706 04:13:40,204 --> 04:13:42,540 RESEARCH WITH OTHER 6707 04:13:42,607 --> 04:13:43,708 PRACTITIONERS IN OTHER 6708 04:13:43,775 --> 04:13:44,008 DISCIPLINES. 6709 04:13:44,075 --> 04:13:46,344 DURING THE PANDEMIC I LEANED 6710 04:13:46,411 --> 04:13:55,720 INTO THIS AND WORKED WITH AGE 6711 04:13:55,787 --> 04:13:57,755 ETHNOMUSICOGIST AND SUPPORTING 6712 04:13:57,822 --> 04:14:00,825 INTERVENTIONS TO REACH OLDER 6713 04:14:00,892 --> 04:14:03,161 ADULTS STUCK AT HOME AND USING 6714 04:14:03,227 --> 04:14:08,600 THIS TO INCREASE THEIR 6715 04:14:08,666 --> 04:14:12,804 ENGAGEMENT WITH US AND WE HAD 6716 04:14:12,870 --> 04:14:15,106 TWO YEARS TO WORK ON THE PROJECT 6717 04:14:15,173 --> 04:14:18,509 AND DIDN'T JUMP INTO THE 6718 04:14:18,576 --> 04:14:23,715 RESEARCH AND IT'S NICE TO BUILD 6719 04:14:23,781 --> 04:14:25,950 A FOUNDATION AND BUILDING THE 6720 04:14:26,017 --> 04:14:27,785 RESEARCH QUESTIONS OUT OF IT AS 6721 04:14:27,852 --> 04:14:31,556 WE'RE BUILDING. 6722 04:14:31,623 --> 04:14:35,693 I WAS ABLE TO TRAIN INTO THE 6723 04:14:35,760 --> 04:14:40,231 MUSEUM AND WORK WITH MUSIC 6724 04:14:40,298 --> 04:14:45,870 THERAPY STUDENTS AND HOW TO USE 6725 04:14:45,937 --> 04:14:47,005 SOCIAL IDENTITY TO DEVELOP 6726 04:14:47,071 --> 04:14:49,040 INTERVENTIONS AND OUT TO 6727 04:14:49,107 --> 04:14:50,008 ACTIVITY THERAPISTS ON THE 6728 04:14:50,074 --> 04:14:52,377 GROUND AND HOW TO USE 6729 04:14:52,443 --> 04:14:53,011 INTERVENTIONS WE'VE DEVELOPED 6730 04:14:53,077 --> 04:14:54,545 AND HOW DO YOU USE YOUR SKILLS 6731 04:14:54,612 --> 04:14:55,713 TO CONTINUE ENGAGING OLDER 6732 04:14:55,780 --> 04:15:00,752 ADULTS WITH DEMENTIA. 6733 04:15:00,818 --> 04:15:02,587 IT'S A NEXT STEP THAT'S 6734 04:15:02,654 --> 04:15:06,524 IMPORTANT TO DO AS MUSIC THERAP 6735 04:15:06,591 --> 04:15:12,830 GISTISTSS -- THERAPISTS IS THE 6736 04:15:12,897 --> 04:15:18,202 LONG-TERM COMMITMENTS IN 6737 04:15:18,269 --> 04:15:18,803 PROJECTS TOGETHER. 6738 04:15:18,870 --> 04:15:22,140 >> SO I HELP CO-FOUND THE 6739 04:15:22,206 --> 04:15:23,474 INSTITUTE FOR MUSIC AND 6740 04:15:23,541 --> 04:15:25,677 NEUROLOGIC FUNCTION FOUNDED BACK 6741 04:15:25,743 --> 04:15:28,446 IN 1995 AND PART OF THE MISSION 6742 04:15:28,513 --> 04:15:29,947 AND VISION FOR THE INSTITUTE WAS 6743 04:15:30,014 --> 04:15:33,651 TO BRING TOGETHER THE WORLD OF 6744 04:15:33,718 --> 04:15:34,752 NEUROSCIENCE AND CLINICAL MUSIC 6745 04:15:34,819 --> 04:15:38,656 THERAPY TO START TALKING TO EACH 6746 04:15:38,723 --> 04:15:38,856 OTHER. 6747 04:15:38,923 --> 04:15:40,825 I CAN'T TELL YOU HOW EXCITED I 6748 04:15:40,892 --> 04:15:42,994 AM TO SEE HOW FAR WE'VE COME IN 6749 04:15:43,061 --> 04:15:45,596 THE PAST 30 PLUS YEARS IN NOT 6750 04:15:45,663 --> 04:15:48,833 ONLY HAVING THE DIALOGUES BUT 6751 04:15:48,900 --> 04:15:51,536 ALSO UNDERSTANDING SOME OF THE 6752 04:15:51,602 --> 04:15:52,136 UNDERLYING MECHANISMS THAT 6753 04:15:52,203 --> 04:15:54,806 CLINICAL MUSIC THERAPISTS HAVE 6754 04:15:54,872 --> 04:15:58,643 BEEN OBSERVING FOR QUITE SOME 6755 04:15:58,710 --> 04:15:58,843 TIME. 6756 04:15:58,910 --> 04:16:01,045 IN THE FIELD OF 6757 04:16:01,112 --> 04:16:01,813 NEUROREHABILITATION, THERE ARE 6758 04:16:01,879 --> 04:16:03,681 SOME MUSIC-BASED INTERVENTIONS 6759 04:16:03,748 --> 04:16:05,583 AT THIS POINT THAT ARE PRETTY 6760 04:16:05,650 --> 04:16:06,551 WELL ESTABLISHED AND YOU'VE 6761 04:16:06,617 --> 04:16:08,820 HEARD SOME OF THOSE ALREADY 6762 04:16:08,886 --> 04:16:11,723 TODAY THE USE OF RHYTHMIC 6763 04:16:11,789 --> 04:16:14,792 AUDITORY STIMULATION AND USING 6764 04:16:14,859 --> 04:16:17,428 THE RHYTHMIC BEAT TO HELP 6765 04:16:17,495 --> 04:16:18,730 SYNCHRONIZE GATE IN PEOPLE WITH 6766 04:16:18,796 --> 04:16:19,564 PARKINSON'S DISEASE. 6767 04:16:19,630 --> 04:16:21,365 WE CAN USE THAT SUCCESSFULLY AND 6768 04:16:21,432 --> 04:16:24,602 AS WE SAW THE POSSIBILITY OF 6769 04:16:24,669 --> 04:16:26,838 HAVING SOMEBODY SELF-CUE WITH 6770 04:16:26,904 --> 04:16:27,038 THAT. 6771 04:16:27,105 --> 04:16:28,206 THAT'S WELL ESTABLISHED. 6772 04:16:28,272 --> 04:16:31,709 THE SAME THING WITH RHYTHM AND 6773 04:16:31,776 --> 04:16:38,349 SING SONG TYPE INTERVENTION OF 6774 04:16:38,416 --> 04:16:44,655 MELODIC THERAPY FOR PEEK PEOPLE 6775 04:16:44,722 --> 04:16:49,393 WHO HAVE EPHAGIA AND WE SPOKE 6776 04:16:49,460 --> 04:16:51,229 ABOUT THE RHYTHMIC PIECE OF 6777 04:16:51,295 --> 04:16:55,133 LANGUAGE AND WHEN WE STUDY 6778 04:16:55,199 --> 04:17:00,438 PEOPLE USING THE SING SONG TYPE 6779 04:17:00,505 --> 04:17:01,739 PROTOCOL WE NOTICED THOSE WHO 6780 04:17:01,806 --> 04:17:06,911 DIDN'T SUCCESSFULLY RECOVER SOME 6781 04:17:06,978 --> 04:17:11,249 SPEECH COULDN'T TAP. 6782 04:17:11,315 --> 04:17:12,817 HERE'S A CLINICAL OBSERVATION 6783 04:17:12,884 --> 04:17:18,289 LOOKING BEYOND WHAT IS IT ABOUT 6784 04:17:18,356 --> 04:17:20,491 RHYTHM AND SPEECH AND SINGING 6785 04:17:20,558 --> 04:17:22,426 THAT OVERLAP OR COMPLIMENT EACH 6786 04:17:22,493 --> 04:17:25,797 OTHER AND HOW CAN WE USE THAT AS 6787 04:17:25,863 --> 04:17:28,032 A DIAGNOSTIC TOOL TO DISCERN THE 6788 04:17:28,099 --> 04:17:33,604 PERSON TO BENEFIT FROM THE 6789 04:17:33,671 --> 04:17:33,938 INTERVENTION. 6790 04:17:34,005 --> 04:17:39,377 THERE'S NOT A MANDATE IN WHICH 6791 04:17:39,443 --> 04:17:42,180 THEY CAN SHARE THE INFORMATION. 6792 04:17:42,246 --> 04:17:44,215 AND SOMETIMES WE CAN'T ALWAYS 6793 04:17:44,282 --> 04:17:47,185 PUBLISH WHAT WE OBSERVE. 6794 04:17:47,251 --> 04:17:50,588 I REMEMBER ALL WHO I COFOUND THE 6795 04:17:50,655 --> 04:17:59,697 INSTITUTE WITH WAS INVITED TO A 6796 04:17:59,764 --> 04:18:04,168 TALK AND AMERICA SAYS IF YOU 6797 04:18:04,235 --> 04:18:05,837 DON'T YOUR STORIES I DON'T KNOW 6798 04:18:05,903 --> 04:18:10,241 WHAT QUESTIONS TO ASK. 6799 04:18:10,308 --> 04:18:11,342 THAT'S WHY WE'RE HERE. 6800 04:18:11,409 --> 04:18:13,411 AWAY SHARE THE STORIES AND 6801 04:18:13,477 --> 04:18:15,046 OBSERVATIONS. 6802 04:18:15,112 --> 04:18:17,014 TOGETHER AS YOU'RE HEARING THIS 6803 04:18:17,081 --> 04:18:18,549 PARTNERSHIPS BETWEEN CLINICIANS 6804 04:18:18,616 --> 04:18:19,116 AND SCIENTISTS COULD REALLY 6805 04:18:19,183 --> 04:18:22,253 ADVANCE OUR KNOWLEDGE. 6806 04:18:22,320 --> 04:18:23,721 IN THE FIELD OF REHABILITATION 6807 04:18:23,788 --> 04:18:26,357 TOO THE CHALLENGES AND THE WORK 6808 04:18:26,424 --> 04:18:27,725 MUSIC THERAPISTS DO IS TO FIND 6809 04:18:27,792 --> 04:18:30,361 OUT WHO ARE THE PEOPLE WHO FALL 6810 04:18:30,428 --> 04:18:31,596 BETWEEN THE CRACKS. 6811 04:18:31,662 --> 04:18:34,465 WHO ARE THE PEOPLE WHEN THOSE 6812 04:18:34,532 --> 04:18:36,434 MUSIC-BASED INTERVENTIONS DON'T 6813 04:18:36,500 --> 04:18:37,401 WORK PERFECTLY. 6814 04:18:37,468 --> 04:18:45,977 WE KNOW FROM THE WORK OF JESSICA 6815 04:18:46,043 --> 04:18:47,879 GRAND WHEN A PERSON WITH 6816 04:18:47,945 --> 04:18:52,016 PARKINSON'S DISEASE THERE'S A 6817 04:18:52,083 --> 04:18:54,619 BREAK DOWN IN DOPAMINE AND FOR 6818 04:18:54,685 --> 04:18:57,688 SOME PEOPLE FOR THE RHYTHMIC 6819 04:18:57,755 --> 04:18:58,990 AUDITORY CUEING DOESN'T WORK 6820 04:18:59,056 --> 04:19:00,758 SUCCESSFULLY ALL THE TIME ARE 6821 04:19:00,825 --> 04:19:02,493 THEY CHANGING THEIR PERCEPTION 6822 04:19:02,560 --> 04:19:04,428 OF WHERE THE BEAT AND DO WE NEED 6823 04:19:04,495 --> 04:19:07,298 TO CHANGE THE EMPHASIS OF THE 6824 04:19:07,365 --> 04:19:09,734 BEAT TO BENEFIT. 6825 04:19:09,800 --> 04:19:11,702 UNDERSTANDING THOSE THINGS CAN 6826 04:19:11,769 --> 04:19:15,006 HELP US. 6827 04:19:15,072 --> 04:19:25,483 THE SAME THING AND SOME 6828 04:19:28,319 --> 04:19:32,356 CHALLENGES IN THE COGNITIVE AND 6829 04:19:32,423 --> 04:19:35,259 PSYCHOLOGICAL ISSUES PEOPLE WIEJ 6830 04:19:35,326 --> 04:19:36,827 NEUROREHABILITATION PRESENT WE 6831 04:19:36,894 --> 04:19:38,496 NEED TO DEAL WITH 6832 04:19:38,562 --> 04:19:45,803 THERAPEUTICALLY THROUGH MUSIC. 6833 04:19:45,870 --> 04:19:50,875 >> I DIDN'T PAY CONNIE TO THE 6834 04:19:50,942 --> 04:19:51,742 ROLE OF THE CLINICIAN. 6835 04:19:51,809 --> 04:19:57,715 IT SPEAKS TO THE GENIUS OF THE 6836 04:19:57,782 --> 04:19:59,517 PLANNERS TO PUT US NEXT TO EACH 6837 04:19:59,583 --> 04:20:01,152 OTHER AND ALLOWED US IN THE 6838 04:20:01,218 --> 04:20:10,394 BREAK TO THINK OF WHAT'S NEXT. 6839 04:20:10,461 --> 04:20:11,696 CLINICIANS ARE THE NATURAL 6840 04:20:11,762 --> 04:20:13,464 HISTORIANS THAT MAKE THE FUTURE 6841 04:20:13,531 --> 04:20:14,465 OF SCIENCE POSSIBLE. 6842 04:20:14,532 --> 04:20:18,803 I FOLLOW THE EXAMPLE OF C. 6843 04:20:18,869 --> 04:20:23,708 MILLER FISHER WHO SAID THE 6844 04:20:23,774 --> 04:20:24,342 BEDSIDE CAN BE YOUR LABORATORY. 6845 04:20:24,408 --> 04:20:26,110 STUDY THE PATIENT SERIOUSLY. 6846 04:20:26,177 --> 04:20:27,845 IN THAT SENSE I AM NOT A 6847 04:20:27,912 --> 04:20:30,247 CLINICIAN SCIENTISTS I'M A 6848 04:20:30,314 --> 04:20:30,748 SCIENTIFIC CLINICIAN. 6849 04:20:30,815 --> 04:20:34,318 WHAT DO I MEAN BY THAT? 6850 04:20:34,385 --> 04:20:36,821 I MEAN THAT MY CASE STUDIES ARE 6851 04:20:36,887 --> 04:20:39,690 END OF ONE AND MY 6852 04:20:39,757 --> 04:20:41,158 CO-INVESTIGATORS ARE PATIENTS 6853 04:20:41,225 --> 04:20:42,827 AND THE CLINICAL END POINTS ARE 6854 04:20:42,893 --> 04:20:43,694 THE RELIEF OF SUFFERING AND 6855 04:20:43,761 --> 04:20:54,305 PRESERVATION OF WELLNESS. 6856 04:20:54,372 --> 04:20:59,010 IT'S AN AWKWARDLY SUPPORTED AND 6857 04:20:59,076 --> 04:21:00,878 LITTLE FUNDED SUPPORTED 6858 04:21:00,945 --> 04:21:01,178 ENTERPRISE. 6859 04:21:01,245 --> 04:21:11,689 WE TEA THINGS UP FOR OTHERS. 6860 04:21:11,756 --> 04:21:12,823 CONNIE MENTIONED THE SCIENTIFIC 6861 04:21:12,890 --> 04:21:16,060 CLINICIAN AND THE STORY IS ABOUT 6862 04:21:16,127 --> 04:21:17,028 MUSIC. 6863 04:21:17,094 --> 04:21:19,663 AND HIS LOSS OF BODY IMAGE WAS 6864 04:21:19,730 --> 04:21:21,599 REPLACED WITH BODY MUSIC TO 6865 04:21:21,665 --> 04:21:23,968 PERFORM HIS ACTIVITIES OF DAILY 6866 04:21:24,035 --> 04:21:24,568 LIVING. 6867 04:21:24,635 --> 04:21:26,971 WHAT IS BODY MUSIC? 6868 04:21:27,038 --> 04:21:28,239 THAT'S FOR THE NEURAL 6869 04:21:28,305 --> 04:21:29,173 PSYCHOLOGIST AND RESEARCHERS AND 6870 04:21:29,240 --> 04:21:30,107 WHERE WE START. 6871 04:21:30,174 --> 04:21:32,910 THAT'S THE TIP OF THE ICEBERG TO 6872 04:21:32,977 --> 04:21:35,012 UNDERSTAND THE MECHANISMS WE 6873 04:21:35,079 --> 04:21:36,013 HOPEFULLY CAN ADAPT BEYOND THAT 6874 04:21:36,080 --> 04:21:46,424 END OF ONE TO EVERYONE. 6875 04:21:46,490 --> 04:21:48,826 WHETHER WE HEARD IT'S 6876 04:21:48,893 --> 04:21:52,830 PARKINSON'S OR THE ROLE MUSIC 6877 04:21:52,897 --> 04:21:54,665 COULD PLAY IN SCHIZOPHRENIA. 6878 04:21:54,732 --> 04:22:02,039 I'M REVIEWING A PIECE LOOKING AT 6879 04:22:02,106 --> 04:22:05,810 FREDER 6880 04:22:05,876 --> 04:22:12,483 FREDERICK NIETZE AND PLAYED 6881 04:22:12,550 --> 04:22:18,422 COMPLEX SONS WHAT UNDER LIES THE 6882 04:22:18,489 --> 04:22:29,033 ABILITY FOR THE MUSIC AND THESE 6883 04:22:32,703 --> 04:22:34,405 ARE OBSERVATIONS THAT HAPPEN 6884 04:22:34,472 --> 04:22:35,539 BETWEEN A PATIENT OR AMONG THE 6885 04:22:35,606 --> 04:22:38,175 PATIENT, FAMILY AND DOCTOR OR 6886 04:22:38,242 --> 04:22:39,276 CLINICIAN BROADLY DEFINED. 6887 04:22:39,343 --> 04:22:46,050 NOT MORE, ESPECIALLY BROADLY DE 6888 04:22:46,117 --> 04:22:46,283 LINED. 6889 04:22:46,350 --> 04:22:51,155 THE EXAMPLE IS THERE'S A THING 6890 04:22:51,222 --> 04:22:53,657 CALLED CAT GRASS SYNDROME AND I 6891 04:22:53,724 --> 04:22:57,094 LOOK AT CONNIE AND LOOKS LIKE 6892 04:22:57,161 --> 04:22:59,697 HER BUT ISN'T HER AND LOOKS 6893 04:22:59,763 --> 04:23:00,297 FAMILIAR. 6894 04:23:00,364 --> 04:23:06,070 THE DIAD IN BETWEEN THE PATIENT 6895 04:23:06,137 --> 04:23:09,206 WAS MUSICAL AND WHAT WE CANNOT 6896 04:23:09,273 --> 04:23:10,708 DISTORT THE VISUAL DISTORTION IS 6897 04:23:10,774 --> 04:23:12,810 TO AMPLIFY THE VERBAL. 6898 04:23:12,877 --> 04:23:15,713 IN THIS CASE I SAID, WHISTLE A 6899 04:23:15,779 --> 04:23:16,947 FAMILIAR TUNE, SING A SONG SO 6900 04:23:17,014 --> 04:23:19,717 YOU KNOW IT HAS TO BE HIM AND 6901 04:23:19,783 --> 04:23:23,721 THEN REENTER THE ROOM AND THAT'S 6902 04:23:23,787 --> 04:23:31,328 BEEN EFFECTIVE. 6903 04:23:31,395 --> 04:23:35,699 AND IS THIS THE STUFF WE HAND 6904 04:23:35,766 --> 04:23:37,301 OFF TO MORE THOROUGH CLINICIAN 6905 04:23:37,368 --> 04:23:37,701 SCIENTISTS. 6906 04:23:37,768 --> 04:23:43,941 I HOPE WE CAN INCENTIVIZE AND 6907 04:23:44,008 --> 04:23:46,744 SYSTEMATIZE THE ROLE THE 6908 04:23:46,810 --> 04:23:48,612 SCIENTIFIC CLINICIAN PLAYS IN 6909 04:23:48,679 --> 04:23:50,781 THIS BECAUSE WITHOUT OUR 6910 04:23:50,848 --> 04:23:51,715 OBSERVATIONS THERE WOULD BE 6911 04:23:51,782 --> 04:23:54,151 LITTLE MATERIAL FOR THE 6912 04:23:54,218 --> 04:23:55,286 REDUCTIONIST AND MODEL MAKING 6913 04:23:55,352 --> 04:23:59,423 THAT SYNCOPATES SYMPTOMS WITH A 6914 04:23:59,490 --> 04:24:00,524 SYSTEMATIZED APPROACH AND THAT 6915 04:24:00,591 --> 04:24:03,260 IS OF COURSE WHAT RESEARCH IS 6916 04:24:03,327 --> 04:24:05,129 SUPPOSED TO DO TO BRING BACK TO 6917 04:24:05,196 --> 04:24:06,830 HELP SOMEBODY IN MY CLINIC. 6918 04:24:06,897 --> 04:24:17,308 THAT'S MY PART TO PLAY. 6919 04:24:20,511 --> 04:24:21,345 >> IT'S A PLEASURE TO BE WITH 6920 04:24:21,412 --> 04:24:22,279 YOU. 6921 04:24:22,346 --> 04:24:26,717 I HAVE THE PLEASURE OF BEING 6922 04:24:26,784 --> 04:24:28,452 ABLE TO DRAIRECT A PROGRAM 6923 04:24:28,519 --> 04:24:32,323 SUSTAINING THE MENTAL WELL BEING 6924 04:24:32,389 --> 04:24:34,091 OF OUR WORK PROFESSIONAL 6925 04:24:34,158 --> 04:24:35,726 WORKFORCE THROUGH EMOTIONAL 6926 04:24:35,793 --> 04:24:39,296 SUPPORT AND PSYCHOLOGICAL FIRST 6927 04:24:39,363 --> 04:24:42,833 AID AND TRAINING AND EDUCATION 6928 04:24:42,900 --> 04:24:44,702 KNOWING WE WANT TO FOCUS ON THE 6929 04:24:44,768 --> 04:24:45,869 INDIVIDUAL'S MENTAL HEALTH AND 6930 04:24:45,936 --> 04:24:48,038 WELL BEING AND AT THE COLLECTIVE 6931 04:24:48,105 --> 04:24:51,742 AND ORGANIZATION AL LEVEL. 6932 04:24:51,809 --> 04:25:02,286 WE KNOW THEY'RE INTERWOVEN. 6933 04:25:03,954 --> 04:25:06,257 AND CO-CREATED MUSIC BECOMES THE 6934 04:25:06,323 --> 04:25:07,758 CREATIVE TOOL WITH WHICH TO 6935 04:25:07,825 --> 04:25:12,896 EXPLORE THE CLIENT'S INNER LIFE 6936 04:25:12,963 --> 04:25:15,566 PROVIDING A PATH TOWARDS GROWTH 6937 04:25:15,633 --> 04:25:17,434 AND GREATER SELF-AWARENESS. 6938 04:25:17,501 --> 04:25:20,804 I'M CURIOUS ABOUT WHETHER OR NOT 6939 04:25:20,871 --> 04:25:21,972 ANALYTICALLY INFORMED MUSIC AND 6940 04:25:22,039 --> 04:25:25,509 CREATIVE ARTS INTERVENTIONS CAN 6941 04:25:25,576 --> 04:25:27,177 PROMOTE INCREASED 6942 04:25:27,244 --> 04:25:31,048 SELF-COMPASSION, PROMOTE 6943 04:25:31,115 --> 04:25:31,882 INCREASED PROFESSIONAL QUALITY 6944 04:25:31,949 --> 04:25:34,685 OF LIFE AND REDUCE SYMPTOMS OF 6945 04:25:34,752 --> 04:25:37,454 BURNOUT AND REDUCE EXHAUSTION, 6946 04:25:37,521 --> 04:25:38,589 DEPLETION, DEEP PERSONALIZATION 6947 04:25:38,656 --> 04:25:39,757 AND LOSS OF PURPOSE AND MEANING 6948 04:25:39,823 --> 04:25:49,967 IN WORK. 6949 04:25:55,272 --> 04:25:59,276 THE LAST FOUR YEARS BROUGHT 6950 04:25:59,343 --> 04:26:02,146 ENORMOUS CHANGES AND MEDICAL 6951 04:26:02,212 --> 04:26:12,756 RECKONING AND HAS CAUSED US TO 6952 04:26:15,859 --> 04:26:20,297 AND WHAT WE'RE DOING AND WE'VE 6953 04:26:20,364 --> 04:26:21,165 EXPERIENCED BURN OUT AND 6954 04:26:21,231 --> 04:26:22,800 DEMOCRATING THE DESIGN OF 6955 04:26:22,866 --> 04:26:26,704 INTERVENTIONS TO CARE FOR THE 6956 04:26:26,770 --> 04:26:27,705 WELL-BEING OF OUR HEALTH CARE 6957 04:26:27,771 --> 04:26:29,606 WORKERS, OUR HEALERS. 6958 04:26:29,673 --> 04:26:32,309 THE WORK I'M TRUSTED AND HONORED 6959 04:26:32,376 --> 04:26:35,846 TO DO INTEGRATED WITH OTHER 6960 04:26:35,913 --> 04:26:37,381 HEALTH BASED INTERVENTIONS 6961 04:26:37,448 --> 04:26:39,383 THEY'RE REDEFINING RESILIENCE 6962 04:26:39,450 --> 04:26:42,886 AND EXPERIENCE A DEEP SENSE OF 6963 04:26:42,953 --> 04:26:43,320 COMMUNITY AND CARE. 6964 04:26:43,387 --> 04:26:45,989 THEY'RE CELEBRATING AND HONORING 6965 04:26:46,056 --> 04:26:47,725 COLLECTIVE HUMANITY AS WELL AS 6966 04:26:47,791 --> 04:26:51,762 THE EXPRESSION OF CULTURAL AND 6967 04:26:51,829 --> 04:26:52,696 CONTEXTUAL IDENTITY. 6968 04:26:52,763 --> 04:26:54,865 AND HERE'S THE EXPERIENCE OF THE 6969 04:26:54,932 --> 04:27:05,042 WORK. 6970 04:27:11,315 --> 04:27:12,783 >> I FEEL LIKE THE PLAY AND 6971 04:27:12,850 --> 04:27:13,016 ART -- 6972 04:27:13,083 --> 04:27:23,527 >> AND THERE'S BUFFERING. 6973 04:27:43,013 --> 04:27:45,749 >> I FEEL THE PLAY, THE ART IS 6974 04:27:45,816 --> 04:27:51,755 AN AVENUE THAT CAN BE USED BY 6975 04:27:51,822 --> 04:27:54,258 SOMEBODY WHOSE DOORS ARE CLOSED. 6976 04:27:54,324 --> 04:27:59,696 CLOSED NOT BECAUSE OF CHOICE BUT 6977 04:27:59,763 --> 04:28:08,405 BECAUSE THEY HAVE TO. 6978 04:28:08,472 --> 04:28:11,742 SOMETIMES THOSE DOORS NEED TO BE 6979 04:28:11,809 --> 04:28:13,877 OPEN. 6980 04:28:13,944 --> 04:28:14,812 YOUR HEART CAN ONLY GET SO MUCH 6981 04:28:14,878 --> 04:28:20,250 AND SOMETIMES YOU HAVE TO LET GO 6982 04:28:20,317 --> 04:28:30,627 SO YOU CAN DANCE. 6983 04:28:33,897 --> 04:28:37,568 SO THE ART -- 6984 04:28:37,634 --> 04:28:39,736 >> IT'S A BEAUTIFUL VIDEO AND 6985 04:28:39,803 --> 04:28:41,905 MAKE SURE IT GETS SHARED. 6986 04:28:41,972 --> 04:28:43,674 >> THE DOOR OF YOUR HEART AND 6987 04:28:43,740 --> 04:28:44,741 MIND AND SOUL. 6988 04:28:44,808 --> 04:28:50,013 IT'S A KEY TO HELP YOU RELEASE 6989 04:28:50,080 --> 04:28:51,748 THOSE NEGATIVE ENERGY AND 6990 04:28:51,815 --> 04:28:54,952 POSSIBLY HELP BRING IN THE 6991 04:28:55,018 --> 04:29:05,162 ENERGY. 6992 04:29:19,076 --> 04:29:27,718 >> THANK YOU. 6993 04:29:27,784 --> 04:29:33,123 THE TENACITY FOR THE VIDEO FOR 6994 04:29:33,190 --> 04:29:33,657 THE PERSEVERE. 6995 04:29:33,724 --> 04:29:44,268 I'M PANAGIS GALIATSOTOS AND I'LL 6996 04:29:46,870 --> 04:29:49,840 TALK ABOUT PREVENTIVE PULMONARY. 6997 04:29:49,907 --> 04:29:51,875 I'M A LUNG DOCTOR. 6998 04:29:51,942 --> 04:29:54,478 YOU SAY I NEVER HEARD OF THAT 6999 04:29:54,545 --> 04:29:56,146 IT. DOESN'T EXIST. 7000 04:29:56,213 --> 04:29:58,315 THERE'S PREVENTIVE CARDIOLOGIST 7001 04:29:58,382 --> 04:29:59,950 AND GOD BLESS THEM AS THEY TRY 7002 04:30:00,017 --> 04:30:01,451 TO PREVENT THE HEART ATTACK THEY 7003 04:30:01,518 --> 04:30:03,787 TRY TO PREVENT THE DISEASE AND 7004 04:30:03,854 --> 04:30:07,724 MADE ME REALIZE WHY THERE ISN'T 7005 04:30:07,791 --> 04:30:11,728 PREVENTIVE PULMONARY AND TRYING 7006 04:30:11,795 --> 04:30:18,936 TO PREVENT LUPUS AND 7007 04:30:19,002 --> 04:30:21,705 RHEUMATOLOGIST AND LUNG DOCTORS 7008 04:30:21,772 --> 04:30:22,906 PLAY VARIOUS ROLES PREVENTING 7009 04:30:22,973 --> 04:30:24,474 ONE DISEASE WON'T EXIST. 7010 04:30:24,541 --> 04:30:26,643 IF ANYTHING CAN WE CREATE 7011 04:30:26,710 --> 04:30:28,078 SOMETHING THAT TRANSCENDS ALL 7012 04:30:28,145 --> 04:30:30,948 THE DISEASES TO SIGNAL 7013 04:30:31,014 --> 04:30:33,083 SOMETHING'S HAPPENING TO THE 7014 04:30:33,150 --> 04:30:33,283 LUNGS. 7015 04:30:33,350 --> 04:30:34,885 THAT'S WHAT WE'RE TRYING TO 7016 04:30:34,952 --> 04:30:36,753 STRIVE FOR USING MUSIC AND 7017 04:30:36,820 --> 04:30:38,322 VOCALISTS WE BELIEVE WE'LL COME 7018 04:30:38,388 --> 04:30:41,658 UP WITH A MECHANISM TO SHOWCASE 7019 04:30:41,725 --> 04:30:43,427 LONGITUDINALLY DISEASE IS 7020 04:30:43,493 --> 04:30:43,694 HAPPENING. 7021 04:30:43,760 --> 04:30:45,228 REGARDLESS OF THE DISEASE AND 7022 04:30:45,295 --> 04:30:46,263 THAT WARRANTS INVESTIGATION BUT 7023 04:30:46,330 --> 04:30:48,498 WE WON'T COME UP WITH ONE 7024 04:30:48,565 --> 04:30:49,733 BIOMARKER TO TRANSCEND ALL AND 7025 04:30:49,800 --> 04:30:51,668 COME UP WITH ONE TEST TO 7026 04:30:51,735 --> 04:30:53,570 TRANSCEND ALL BUT THINK WE CAN 7027 04:30:53,637 --> 04:30:53,937 USING MUSIC. 7028 04:30:54,004 --> 04:30:56,974 MORE TO COME FROM THAT ASPECT. 7029 04:30:57,040 --> 04:31:00,944 AND THE SECOND HALF IS ACADEMIC 7030 04:31:01,011 --> 04:31:03,480 PHYSICIANS WEARING MULTIPLE HATS 7031 04:31:03,547 --> 04:31:06,917 AND THERE'S A BI-DIRECTIONAL 7032 04:31:06,984 --> 04:31:08,785 COMMUNITY AND HOUSING UNITS AND 7033 04:31:08,852 --> 04:31:13,056 SCHOOLS WHERE WE PROMOTE HEALTH 7034 04:31:13,123 --> 04:31:14,558 THROUGH INFLUENTIAL LEADERSHIP 7035 04:31:14,625 --> 04:31:16,393 COMING FROM COMMUNITY HEALTH 7036 04:31:16,460 --> 04:31:18,362 WORKERS AND OVERSEE THE LARGEST 7037 04:31:18,428 --> 04:31:19,997 TRAINING SITE IN THE STATE OF 7038 04:31:20,063 --> 04:31:20,564 MARYLAND. 7039 04:31:20,631 --> 04:31:22,899 WHAT WE'VE DONE THERE IN 7040 04:31:22,966 --> 04:31:24,801 BALTIMORE CITY IS GRAB THE 7041 04:31:24,868 --> 04:31:25,769 COMMUNITY HEALTH WORKERS TO 7042 04:31:25,836 --> 04:31:26,737 IDENTIFY AS ARTISTS. 7043 04:31:26,803 --> 04:31:29,906 GOOD STORYTELLERS AND GOOD 7044 04:31:29,973 --> 04:31:31,208 MUSICIANS AND WHENEVER THERE'S A 7045 04:31:31,274 --> 04:31:34,077 TRAUMA AS THERE WAS WITH A LOCAL 7046 04:31:34,144 --> 04:31:35,412 SCHOOL SHOOTING WE GET THE 7047 04:31:35,479 --> 04:31:36,947 COMMUNITY HEALTH WORKERS IN 7048 04:31:37,014 --> 04:31:42,085 THERE TO BE AN ADJUNCT USING 7049 04:31:42,152 --> 04:31:44,521 MUSIC TO REAFFIRM THE SOCIAL 7050 04:31:44,588 --> 04:31:46,056 COHESION TO GET PEOPLE THROUGH 7051 04:31:46,123 --> 04:31:46,356 THE TRAUMA. 7052 04:31:46,423 --> 04:31:48,492 MORE TO COME ON THAT AS WE NOT 7053 04:31:48,558 --> 04:31:55,632 ONLY DO IT IN BALTIMORE CITY BUT 7054 04:31:55,699 --> 04:31:56,433 EXTEND. 7055 04:31:56,500 --> 04:31:58,168 IN MARYLAND MENTAL HEALTH IS 7056 04:31:58,235 --> 04:32:03,473 IMPACTED GREATLY ESPECIALLY 7057 04:32:03,540 --> 04:32:05,542 POST-PANDEMIC AND WE'RE TRYING 7058 04:32:05,609 --> 04:32:10,781 TO IMPLEMENT IT WITH TRAUMA 7059 04:32:10,847 --> 04:32:12,616 INFORMED CARE WITH MUSIC AND 7060 04:32:12,683 --> 04:32:14,818 WITH HEALTH LEADERS WILL BE A 7061 04:32:14,885 --> 04:32:15,752 TRANSFORMATIVE THING WE CAN 7062 04:32:15,819 --> 04:32:25,962 PROVIDE. 7063 04:32:30,000 --> 04:32:36,940 >> I'M LORI GOODING AND TALK 7064 04:32:37,007 --> 04:32:41,311 ABOUT A ROLE ABOUT THE AMERICAN 7065 04:32:41,378 --> 04:32:42,379 MUSIC THERAPY ASSOCIATION CAN 7066 04:32:42,446 --> 04:32:42,746 PLAY. 7067 04:32:42,813 --> 04:32:47,751 RESEARCH HAS ALWAYS BEEN A 7068 04:32:47,818 --> 04:32:55,559 PRIORITY AND ENCOURAGE RESEARCH 7069 04:32:55,625 --> 04:32:55,959 PROJECTS. 7070 04:32:56,026 --> 04:32:58,128 AND IN MANY WAYS IT'S STILL TO 7071 04:32:58,195 --> 04:32:59,930 ENCOURAGE RESEARCH. 7072 04:32:59,996 --> 04:33:01,231 TODAY WE HAVE TWO ASSOCIATION 7073 04:33:01,298 --> 04:33:01,498 JOURNALS. 7074 04:33:01,565 --> 04:33:04,434 ONE PUBLISHING RESEARCH FOR 60 7075 04:33:04,501 --> 04:33:04,968 YEARS. 7076 04:33:05,035 --> 04:33:06,970 WE HAVE ARE TWO ASSOCIATION 7077 04:33:07,037 --> 04:33:08,605 GRANTS WHICH HELP SUPPORT MUSIC 7078 04:33:08,672 --> 04:33:10,640 THERAPY RESEARCH PROJECTS. 7079 04:33:10,707 --> 04:33:12,576 AND THE ASSOCIATION HOSTS 7080 04:33:12,642 --> 04:33:23,086 CONFERENCES, SIM POSE -- 7081 04:33:30,227 --> 04:33:31,795 SYMPOSIA AND DOES EDUCATION AND 7082 04:33:31,862 --> 04:33:33,497 ADVOCACY WORK. 7083 04:33:33,563 --> 04:33:40,036 WE RECOGNIZE THE IMPORTANT ROLE 7084 04:33:40,103 --> 04:33:42,172 MUSIC PLAYS AND FOR RESEARCHERS 7085 04:33:42,239 --> 04:33:43,507 AND SCHOLARS PRESENTING AT THIS 7086 04:33:43,573 --> 04:33:45,509 WORKSHOP ARE A TESTAMENT TO THE 7087 04:33:45,575 --> 04:33:48,111 WORK IN MUSIC THERAPY RESEARCH 7088 04:33:48,178 --> 04:33:48,945 AND SUGGEST STRIDES TOWARDS 7089 04:33:49,012 --> 04:33:51,748 BUILDING COLLABORATION, CAPACITY 7090 04:33:51,815 --> 04:33:59,689 AND MUCH MORE. 7091 04:33:59,756 --> 04:34:01,558 AND THE ASSOCIATION REMAINS 7092 04:34:01,625 --> 04:34:02,692 COMMITTED TO RESEARCH AS A 7093 04:34:02,759 --> 04:34:04,895 PRIORITY AND REMAINS COMMITTED 7094 04:34:04,961 --> 04:34:06,930 TO CRITICAL REFLECTION, 7095 04:34:06,997 --> 04:34:08,999 STRENGTHENING PARTNERSHIPS AND 7096 04:34:09,065 --> 04:34:11,735 DIVERSE RESEARCH MOVING FORWARD. 7097 04:34:11,802 --> 04:34:20,110 THANK YOU. 7098 04:34:20,177 --> 04:34:22,612 >> THANK YOU TO THE PANELISTS. 7099 04:34:22,679 --> 04:34:23,713 THANK YOU TO ALL THE PANELISTS 7100 04:34:23,780 --> 04:34:24,181 FOR SHARING. 7101 04:34:24,247 --> 04:34:28,451 WE WANT TO OPEN UP THE FLOOR FOR 7102 04:34:28,518 --> 04:34:30,921 Q&A BECAUSE OF TIME. 7103 04:34:30,987 --> 04:34:32,289 IF YOU HAVE A QUESTION WE ASK 7104 04:34:32,355 --> 04:34:34,191 YOU TO COME TO THE MIC. 7105 04:34:34,257 --> 04:34:35,659 I'LL START US WITH THE FIRST 7106 04:34:35,725 --> 04:34:43,600 QUESTION AND OPEN TO CONNIE, 7107 04:34:43,667 --> 04:34:46,469 LORI AND PANAGIS. 7108 04:34:46,536 --> 04:34:48,438 HOW DOES PRACTICE INFORM 7109 04:34:48,505 --> 04:34:49,306 RESEARCH AND RESEARCH INFORM 7110 04:34:49,372 --> 04:34:54,945 PRACTICE WHEN WE THINK ABOUT 7111 04:34:55,011 --> 04:35:05,388 APPLIED MUSIC-BASED RESEARCH. 7112 04:35:05,455 --> 04:35:07,090 >> IT'S CRUCIAL WE HAVE 7113 04:35:07,157 --> 04:35:07,424 OPPORTUNITIES. 7114 04:35:07,490 --> 04:35:11,728 KNOWING WHO THE PARTNERS ARE, 7115 04:35:11,795 --> 04:35:15,765 JOANNE LOWEY AND OTHERS MEDICAL 7116 04:35:15,832 --> 04:35:17,801 SETTINGS USUALLY HAVE ACCESS TO 7117 04:35:17,868 --> 04:35:19,369 OTHER CLINICAL PARTNERS TO 7118 04:35:19,436 --> 04:35:20,303 ADVANCE THE RESEARCH 7119 04:35:20,370 --> 04:35:20,637 OPPORTUNITIES. 7120 04:35:20,704 --> 04:35:21,638 OPENING UP THE DOORS AND 7121 04:35:21,705 --> 04:35:27,444 ALLOWING THE CONVERSATIONS TO 7122 04:35:27,510 --> 04:35:28,078 TAKE P 7123 04:35:28,144 --> 04:35:30,947 TAKE PLACE CAN HELP ADVANCE THE 7124 04:35:31,014 --> 04:35:36,820 SCIENCE AND CLINICAL PRACTICE. 7125 04:35:36,887 --> 04:35:39,489 BEING AT THE BEDSIDE YOU LEARN 7126 04:35:39,556 --> 04:35:40,924 SO MUCH AND THE CLINICAL 7127 04:35:40,991 --> 04:35:42,926 PRACTICE HAS INFLUENCED ME TO 7128 04:35:42,993 --> 04:35:53,370 FIND ANSWERS IN MUSIC. 7129 04:35:54,537 --> 04:35:56,706 FROM ANY STANDPOINT IT'S MY 7130 04:35:56,773 --> 04:35:57,974 PATIENTS TO HELP HE RECOGNIZE WE 7131 04:35:58,041 --> 04:36:00,310 NEED TO PULL THIS MUSICAL 7132 04:36:00,377 --> 04:36:03,013 THERAPY INTO PULMONARY PRACTICE, 7133 04:36:03,079 --> 04:36:06,917 MORE ORGANIZED AND SUCCINCTLY 7134 04:36:06,983 --> 04:36:08,251 AND EVERY TIME WE'VE GONE IN THE 7135 04:36:08,318 --> 04:36:10,120 COMMUNITY TO REACT TO A TRAUMA, 7136 04:36:10,186 --> 04:36:11,321 THE NUMBER ONE THING REQUESTED 7137 04:36:11,388 --> 04:36:11,721 IS ART. 7138 04:36:11,788 --> 04:36:20,730 THE NUMBER ONE THING. 7139 04:36:20,797 --> 04:36:24,634 FROM THE STANDPOINT THIS ALWAYS 7140 04:36:24,701 --> 04:36:26,102 AFFECTS THE COMMUNITY. 7141 04:36:26,169 --> 04:36:28,204 >> I WOULD ADD TO THE WONDERFUL 7142 04:36:28,271 --> 04:36:30,774 THINGS THAT HAVE BEEN SAID THAT 7143 04:36:30,840 --> 04:36:32,542 RESEARCH AND PRACTICE ARE TWO 7144 04:36:32,609 --> 04:36:37,447 SIDES OF THE SAME COIN. 7145 04:36:37,514 --> 04:36:39,482 THE ROLE SOMETHING LIKE AMTA CAN 7146 04:36:39,549 --> 04:36:41,985 PLAY IS HELPING INDIVIDUALS 7147 04:36:42,052 --> 04:36:43,253 UNDERSTAND THE CONNECTION AND 7148 04:36:43,320 --> 04:36:45,555 PROVIDING THE ABILITY TO ACCESS 7149 04:36:45,622 --> 04:36:46,823 THAT INFORMATION. 7150 04:36:46,890 --> 04:36:51,795 WHETHER IT'S THROUGH JOURNALS OR 7151 04:36:51,861 --> 04:36:53,663 CONFERENCE PRESENTATIONS OR 7152 04:36:53,730 --> 04:36:54,431 THROUGH FLUNGS THE TRAINING AND 7153 04:36:54,497 --> 04:36:55,699 HELPING THEM SEE THE CONNECTION 7154 04:36:55,765 --> 04:36:58,568 AND THE RESEARCH AS THEIR 7155 04:36:58,635 --> 04:37:00,804 STARTING POINT AND COMBINE WITH 7156 04:37:00,870 --> 04:37:03,740 THEIR OWN EXPERTISE AND VALUES 7157 04:37:03,807 --> 04:37:05,608 AND BELIEFS OF THE CULTURES OF 7158 04:37:05,675 --> 04:37:07,043 THE PEOPLE THEY'RE WORKING WITH. 7159 04:37:07,110 --> 04:37:09,079 >> FIRST QUESTION? 7160 04:37:09,145 --> 04:37:14,684 >> THANK YOU SO MUCH FOR THE 7161 04:37:14,751 --> 04:37:16,519 PANEL. 7162 04:37:16,586 --> 04:37:19,756 TALLIA GOLDSTEIN. 7163 04:37:19,823 --> 04:37:23,727 FOR THE MUSIC AS MEDICINE 7164 04:37:23,793 --> 04:37:26,563 ELEMENTS IT REQUIRES THE 7165 04:37:26,629 --> 04:37:27,630 INDIVI 7166 04:37:27,697 --> 04:37:28,598 INDIVIDUALS REMEMBERING TO DO IT 7167 04:37:28,665 --> 04:37:29,632 TO SING FOR THEIR STRIDE 7168 04:37:29,699 --> 04:37:31,001 CROSSING THE STREET AND WHAT 7169 04:37:31,067 --> 04:37:39,743 WORK HAS BEEN DONE IN ENGAGE IN 7170 04:37:39,809 --> 04:37:41,578 THE THERAPIES THAT CAN BE 7171 04:37:41,644 --> 04:37:43,113 HELPFUL FROM OUTSIDE THE THERAPY 7172 04:37:43,179 --> 04:37:53,723 ROOM OR THE MEDICALIZED SETTING. 7173 04:37:59,329 --> 04:38:01,498 >> WE TRAIN THE DIRECT CARE 7174 04:38:01,564 --> 04:38:03,666 PARTNER WHETHER IT'S A FAMILY 7175 04:38:03,733 --> 04:38:06,669 MEMBER OR CNA TO BECOME A WAY OF 7176 04:38:06,736 --> 04:38:08,204 PRACTICING IT ONGOINGLY AND 7177 04:38:08,271 --> 04:38:11,941 REMINDING THE PERSON TO USE THAT 7178 04:38:12,008 --> 04:38:18,648 AS WELL. 7179 04:38:18,715 --> 04:38:21,184 PART OF THE DESIGN IS EACH 7180 04:38:21,251 --> 04:38:22,385 INDIVIDUAL WILL HAVE HOME WORK 7181 04:38:22,452 --> 04:38:24,387 WHERE THREE DAYS A WEEK THEY'RE 7182 04:38:24,454 --> 04:38:26,489 SUPPOSED TO WALK FOR 30 MINUTES 7183 04:38:26,556 --> 04:38:27,724 WITH THEIR OPTIMIZED CUE AND 7184 04:38:27,791 --> 04:38:29,025 WE'LL TRACK WHETHER THEY DO THAT 7185 04:38:29,092 --> 04:38:31,728 AND AFTER THE STUDY FINISHES 7186 04:38:31,795 --> 04:38:35,365 WE'LL SEE IF THEY INCORPORATED 7187 04:38:35,432 --> 04:38:38,802 WHAT THEY LEARNED INTO THEIR 7188 04:38:38,868 --> 04:38:41,604 DAILY LIVES AND BEGIN TO GIVE A 7189 04:38:41,671 --> 04:38:42,672 FIRST LOOK AT THE QUESTIONS. 7190 04:38:42,739 --> 04:38:45,575 >> AND IF THAT APPLIES TO 7191 04:38:45,642 --> 04:38:47,710 INITIATING MOVEMENT AND THE 7192 04:38:47,777 --> 04:38:52,182 REASON WHY I'M ASKING THAT IS I 7193 04:38:52,248 --> 04:38:54,084 WORKED WITH SEVERAL GROUPS OF 7194 04:38:54,150 --> 04:38:54,617 PARKINSON'S PATIENTS AND 7195 04:38:54,684 --> 04:38:55,285 SOMETIMES FROM THE NEEDS OF THE 7196 04:38:55,351 --> 04:39:05,495 CLIENT. 7197 04:39:08,665 --> 04:39:10,266 THEY CAME IN WITH A LASER LIGHT 7198 04:39:10,333 --> 04:39:14,938 ON HER CAIN -- CANE BECAUSE SHE 7199 04:39:15,004 --> 04:39:16,940 NEEDED TO STEP OVER THAT AND 7200 04:39:17,006 --> 04:39:18,641 INITIATE THE MOVEMENT AND IF 7201 04:39:18,708 --> 04:39:21,544 THAT WORKS FOR INITIATING 7202 04:39:21,611 --> 04:39:22,812 MOVEMENT SHE WOULD USE THAT 7203 04:39:22,879 --> 04:39:33,356 BECAUSE SHE NEEDED TO WALK. 7204 04:39:57,747 --> 04:39:59,916 >> I CAN THE PATIENTS HELP THEM 7205 04:39:59,983 --> 04:40:05,722 IMPLEMENT IT. 7206 04:40:05,788 --> 04:40:11,394 >> I'M FROM HIP -- NIH. 7207 04:40:11,461 --> 04:40:17,901 I WAS CURIOUS ABOUT THE 7208 04:40:17,967 --> 04:40:19,602 MECHANISM YOU THINK IMPROVES 7209 04:40:19,669 --> 04:40:22,805 WALKING AND I THINK BRAIN AND 7210 04:40:22,872 --> 04:40:26,910 TRAIN THE SINGING HELPS TRAIN 7211 04:40:26,976 --> 04:40:28,778 THE BRAIN AND THINK MAYBE SEEING 7212 04:40:28,845 --> 04:40:34,751 IT STIMULATES THE VAGUS NERVE 7213 04:40:34,817 --> 04:40:36,586 AND MAYBE THAT'S WHERE YOU HAVE 7214 04:40:36,653 --> 04:40:37,086 THE BENEFIT. 7215 04:40:37,153 --> 04:40:39,722 I'M CURIOUS WHAT THE 7216 04:40:39,789 --> 04:40:42,759 POSSIBILITIES ARE. 7217 04:40:42,825 --> 04:40:53,036 >> I HADN'T 7218 04:40:54,604 --> 04:40:59,108 >> I THOUGHT IT COULD GO TO THE 7219 04:40:59,175 --> 04:41:02,745 CEREBELLUM AND USING THE 7220 04:41:02,812 --> 04:41:04,914 INTERNAL CUE USING WHAT SPARE 7221 04:41:04,981 --> 04:41:12,956 BASAL GANGLIA IS LEFT AND SEE A 7222 04:41:13,022 --> 04:41:17,093 DIFFERENCE WHEN THE INTERNAL 7223 04:41:17,160 --> 04:41:20,396 CUES VERSUS EXTERNAL. 7224 04:41:20,463 --> 04:41:22,398 THE IDEA OF GETTING EVERYTHING 7225 04:41:22,465 --> 04:41:23,700 WORKING TOGETHER AND MATCHING 7226 04:41:23,766 --> 04:41:25,835 SOMETHING COMING FROM WITHIN 7227 04:41:25,902 --> 04:41:27,036 VERSUS MATCHING SOMETHING 7228 04:41:27,103 --> 04:41:29,939 OUTSIDE OF YOURSELF INHERENTLY 7229 04:41:30,006 --> 04:41:30,940 SPEAKS TO THE VARIABILITY PIECE. 7230 04:41:31,007 --> 04:41:32,976 IT SHOULD BE EASIER IN SOME WAYS 7231 04:41:33,042 --> 04:41:34,043 TO HAVE EVERYTHING MOVING IN THE 7232 04:41:34,110 --> 04:41:35,778 SAME DIRECTION WITH THE SAME 7233 04:41:35,845 --> 04:41:39,282 TIMING IF IT'S ALL INTERNALLY 7234 04:41:39,349 --> 04:41:40,250 GENERATED. 7235 04:41:40,316 --> 04:41:42,118 IN TERMS OF THE EXACT NEURAL 7236 04:41:42,185 --> 04:41:45,221 MECHANISM WE HOPE WE SEE WITH 7237 04:41:45,288 --> 04:41:47,724 TRAINING MAYBE CERTAIN THINGS 7238 04:41:47,790 --> 04:41:49,792 ARE STRENGTHENED OR NOT IF YOU 7239 04:41:49,859 --> 04:41:51,461 TRAIN WITH MUSIC AND GIVE MORE 7240 04:41:51,527 --> 04:42:02,071 INSIGHT THAN WE HAVE RIGHT NOW. 7241 04:42:07,677 --> 04:42:08,244 >> THANK YOU. 7242 04:42:08,311 --> 04:42:09,979 WHEN YOU PLAY THE BOWLS IT 7243 04:42:10,046 --> 04:42:10,546 SOUNDED POWERFUL. 7244 04:42:10,613 --> 04:42:11,714 ARE YOU PUTTING INTENTION INTO 7245 04:42:11,781 --> 04:42:14,350 THAT SOUND OR ARE YOU LETTING 7246 04:42:14,417 --> 04:42:16,152 THE BOWLS DO THE WORK? 7247 04:42:16,219 --> 04:42:18,921 QUESTION TWO, TO BE A MUSIC 7248 04:42:18,988 --> 04:42:20,890 THERAPIST, WHAT'S THE CRITERIA 7249 04:42:20,957 --> 04:42:21,424 MUSICALLY? 7250 04:42:21,491 --> 04:42:24,427 DO YOU HAVE TO BE A MUSICIAN 7251 04:42:24,494 --> 04:42:27,063 FIRST AND HAS ANYONE STUDIED 7252 04:42:27,130 --> 04:42:28,564 ANCIENT CULTURES AND HOW THEY'VE 7253 04:42:28,631 --> 04:42:31,401 USED MUSIC IN THEIR SOCIETIES ON 7254 04:42:31,467 --> 04:42:35,738 DIFFERENT CONTINENTS AND HOW'S 7255 04:42:35,805 --> 04:42:41,177 THAT FACTOR. 7256 04:42:41,244 --> 04:42:43,713 >> WE OFTEN TALK ABOUT THE 7257 04:42:43,780 --> 04:42:46,683 TECHNIQUE YOU LEARN WHETHER 7258 04:42:46,749 --> 04:42:48,451 YOU'RE A DOCTOR AND YOU LEARN 7259 04:42:48,518 --> 04:42:51,120 YOUR CRAFT AND AT A HIGH LEVEL 7260 04:42:51,187 --> 04:42:53,222 OF EXCELLENCE AND THEN THE 7261 04:42:53,289 --> 04:42:54,590 TECHNIQUE OF YOUR HEART AND IT'S 7262 04:42:54,657 --> 04:43:00,963 SO APPARENT THAT THAT IS JUST IN 7263 04:43:01,030 --> 04:43:11,441 THE ROOM FROM EVERYBODY. 7264 04:43:11,741 --> 04:43:15,178 I HAVE TO FIND A WAY TO CLEAR MY 7265 04:43:15,244 --> 04:43:18,348 OWN INSTRUMENT TO SET A HIGH 7266 04:43:18,414 --> 04:43:19,215 INTENTION FILLED WITH LIGHT AND 7267 04:43:19,282 --> 04:43:21,084 LOVE AS WE SAY IN THE GROUP AND 7268 04:43:21,150 --> 04:43:23,252 THEN PLAY AND THE TECHNIQUE I 7269 04:43:23,319 --> 04:43:24,987 UNDERSTAND AND WHY INTERVALS AND 7270 04:43:25,054 --> 04:43:26,756 BOWLS TO USE AND HOW TO COMBINE 7271 04:43:26,823 --> 04:43:31,961 THEM AND THEN IT HAPPENS. 7272 04:43:32,028 --> 04:43:36,833 BUT THAT PURE INTENTION. 7273 04:43:36,899 --> 04:43:39,736 WE CAN'T FORGET THE ASPECT OF 7274 04:43:39,802 --> 04:43:49,679 LOVE. 7275 04:43:49,746 --> 04:43:55,418 >> THE LAST QUESTION CAME ABOUT 7276 04:43:55,485 --> 04:44:00,957 I HEARD IT AND WE HAVE HISTORY 7277 04:44:01,023 --> 04:44:05,728 IN WORKING WITH PATIENTS AND 7278 04:44:05,795 --> 04:44:06,963 RESEARCH REALLY MAKING SURE AS 7279 04:44:07,029 --> 04:44:12,969 MUSIC THERAPISTS AND WE DELVE 7280 04:44:13,036 --> 04:44:16,806 INTO PEOPLE'S PAST RELATIONSHIP 7281 04:44:16,873 --> 04:44:20,209 WITH TRAUMA AND THE CONCEPT OF 7282 04:44:20,276 --> 04:44:20,676 SOCIAL MUSIC. 7283 04:44:20,743 --> 04:44:22,979 WE WORK TOGETHER. 7284 04:44:23,045 --> 04:44:25,481 WE'RE WRITING TOGETHER. 7285 04:44:25,548 --> 04:44:28,618 ON HOW PEOPLE FARE THROUGH PAST 7286 04:44:28,684 --> 04:44:30,153 TRAUMAS WITH MUSIC. 7287 04:44:30,219 --> 04:44:34,557 THIS IS A BIBLE OF LEARNING IN 7288 04:44:34,624 --> 04:44:35,725 MUSIC THERAPY. 7289 04:44:35,792 --> 04:44:44,100 I THINK TRAUMA SHOULD BE PART OF 7290 04:44:44,167 --> 04:44:46,302 DISEASE MANAGEMENT. 7291 04:44:46,369 --> 04:44:50,740 IT'S IN THE GREAT WORKS THAT 7292 04:44:50,807 --> 04:44:51,774 CONFLICT THAT COMES THROUGH 7293 04:44:51,841 --> 04:44:54,944 MUSIC REPERTOIRE IS PART OF OUR 7294 04:44:55,011 --> 04:45:02,151 WORK AS MUSIC THERAPISTS IN 7295 04:45:02,218 --> 04:45:11,727 TREATING HELPS 7296 04:45:11,794 --> 04:45:20,803 >> I LOVE WHAT JERALYN SAID AND 7297 04:45:20,870 --> 04:45:24,674 LOVE SAY HUGE COMPONENT OF THE 7298 04:45:24,740 --> 04:45:26,442 INTERVENTION AND WORK AND WHO 7299 04:45:26,509 --> 04:45:27,710 STUDIED ANCIENT CULTURES AND 7300 04:45:27,777 --> 04:45:33,916 WHAT QUALITIES I DON'T KNOW BUT 7301 04:45:33,983 --> 04:45:41,757 I WAS SHARING WITH DR. HELBY AND 7302 04:45:41,824 --> 04:45:45,495 I STUDY AT JOHNS HOPKINS IN MY 7303 04:45:45,561 --> 04:45:45,995 UNDERGRADUATE WORK AND 7304 04:45:46,062 --> 04:45:47,396 UNDERSTOOD THE EXPRESSION OF 7305 04:45:47,463 --> 04:45:48,965 CULTURE THROUGH MUSIC IN A WAY 7306 04:45:49,031 --> 04:45:54,537 PROFOUNDLY UNIQUE FOR ME AND LED 7307 04:45:54,604 --> 04:46:05,147 TO MY UNDERSTANDING ENGAGING IN 7308 04:46:05,781 --> 04:46:08,951 SONG AND DANCE WHICH WAS IT IS I 7309 04:46:09,018 --> 04:46:10,953 THINK SOMEONE EARLIER IN THE 7310 04:46:11,020 --> 04:46:13,155 OTHER SESSION SAID IT'S LIKE 7311 04:46:13,222 --> 04:46:19,729 IT'S FLOWING OUT OF US THE A 7312 04:46:19,795 --> 04:46:21,797 PRIMAL PLACE AS HUMAN BEINGS WE 7313 04:46:21,864 --> 04:46:23,633 SUPPRESS IT IN OUR CULTURE BUT 7314 04:46:23,699 --> 04:46:25,001 IN OTHER PLACES OF THE WORLD 7315 04:46:25,067 --> 04:46:27,270 IT'S INTEGRAL TO DAILY LIFE AND 7316 04:46:27,336 --> 04:46:28,638 HOW WE ENGAGE. 7317 04:46:28,704 --> 04:46:31,374 THE MINUTE WE INTRODUCE SONG AND 7318 04:46:31,440 --> 04:46:33,276 DANCE INTO OUR RESEARCH IT ALL 7319 04:46:33,342 --> 04:46:35,811 CAME TO THE SURFACE THE 7320 04:46:35,878 --> 04:46:38,381 PSYCHOSOCIAL NEEDS WERE 7321 04:46:38,447 --> 04:46:38,948 ACCESSIBLE. 7322 04:46:39,015 --> 04:46:41,951 IT'S RELATED AND HEART AND LOVE 7323 04:46:42,018 --> 04:46:43,619 ARE ALSO SO INTEGRAL IN THE WORK 7324 04:46:43,686 --> 04:46:46,289 WE DO AS MUSIC THERAPISTS AND 7325 04:46:46,355 --> 04:46:48,024 CRITICAL FOR THE RESEARCH TOO. 7326 04:46:48,090 --> 04:46:50,560 THE RESEARCHER NOT JUST AN 7327 04:46:50,626 --> 04:46:51,727 INSTRUMENT IT'S A HUMAN BEING 7328 04:46:51,794 --> 04:46:52,461 AND HEART. 7329 04:46:52,528 --> 04:46:53,829 >> ONE MORE AND THEN THE NEXT. 7330 04:46:53,896 --> 04:46:56,065 >> I WANTED TO ANSWER ABOUT THE 7331 04:46:56,132 --> 04:46:57,366 EDUCATION OF THE MUSIC THERAPIST 7332 04:46:57,433 --> 04:46:59,735 BECAUSE I'M NOT SURE IF EVERYONE 7333 04:46:59,802 --> 04:47:06,943 HERE KNOWS THE BACKGROUND. 7334 04:47:07,009 --> 04:47:11,847 WHEN I INTERVIEWED HIGH SCHOOL 7335 04:47:11,914 --> 04:47:13,249 STUDENTS THEY'RE CORE 7336 04:47:13,316 --> 04:47:14,417 CHARACTERISTICS IS THEY WANT TO 7337 04:47:14,483 --> 04:47:16,252 HELP PEOPLE AND HAVE A PASSION 7338 04:47:16,319 --> 04:47:17,720 FOR MUSIC. 7339 04:47:17,787 --> 04:47:19,622 I THINK THOSE TWO CORE 7340 04:47:19,689 --> 04:47:21,190 CHARACTERISTICS WILL LEAD THEM 7341 04:47:21,257 --> 04:47:22,525 THROUGH WHAT THEY'RE STUDIES 7342 04:47:22,592 --> 04:47:23,793 REQUIRE OF THEM. 7343 04:47:23,859 --> 04:47:26,095 THEY HAVE THEIR MUSIC COURSES 7344 04:47:26,162 --> 04:47:30,967 AND PRINCIPLE INSTRUMENT THEY 7345 04:47:31,033 --> 04:47:35,705 AUDITION ON AND MUSIC HISTORY 7346 04:47:35,771 --> 04:47:45,581 A 7347 04:47:45,648 --> 04:47:47,450 AND THE MUSIC THERAPY COURSES 7348 04:47:47,516 --> 04:47:49,452 AND CLINICAL PLACEMENTS THROUGH 7349 04:47:49,518 --> 04:47:51,554 THE SENIOR YEAR PROBABLY IT 7350 04:47:51,621 --> 04:47:53,623 DEPENDS ON THE SCHOOL THREE TO 7351 04:47:53,689 --> 04:47:57,293 FIVE CLINICAL PLACEMENTS OF AGES 7352 04:47:57,360 --> 04:48:00,730 AND DIAGNOSES AND SIX-MONTH 7353 04:48:00,796 --> 04:48:02,031 INTERNSHIP FROM A NATIONAL 7354 04:48:02,098 --> 04:48:04,100 ROSTER OR UNIVERSITY AFFILIATED. 7355 04:48:04,166 --> 04:48:06,969 AT THE END OF THE INTERNSHIP 7356 04:48:07,036 --> 04:48:10,373 THEY SIT FOR A BOARD EXAMINE AND 7357 04:48:10,439 --> 04:48:12,708 RECEIVE MUSIC THERAPIST BOARD 7358 04:48:12,775 --> 04:48:13,309 CERTIFIED AND ELIGIBLE TO BE 7359 04:48:13,376 --> 04:48:17,580 HIRED. 7360 04:48:17,647 --> 04:48:19,715 >> WE HAVE TIME FOR ONE AND A 7361 04:48:19,782 --> 04:48:24,620 HALF QUESTIONS. 7362 04:48:24,687 --> 04:48:27,490 WE'LL GO HERE AND THEN -- 7363 04:48:27,556 --> 04:48:32,261 >> I'LL ASK THREE-QUARTERS OF A 7364 04:48:32,328 --> 04:48:32,528 QUESTION. 7365 04:48:32,595 --> 04:48:35,431 I'M FORMER DIRECTOR OF RESEARCH 7366 04:48:35,498 --> 04:48:38,968 AT UNIVERSITY HOSPITALS. 7367 04:48:39,035 --> 04:48:43,706 THERE'S TEN GAPS FILLED BY THE 7368 04:48:43,773 --> 04:48:45,641 QUESTION IS RESEARCH WHICH IS 7369 04:48:45,708 --> 04:48:49,945 USUALLY 50, 100 PEOPLE WHICH IS 7370 04:48:50,012 --> 04:48:51,947 LIMITED AND RIGOROUS ELIGIBILITY 7371 04:48:52,014 --> 04:48:53,783 AND WE DO PRACTICE-BASED 7372 04:48:53,849 --> 04:48:57,653 RESEARCH AND WE COLLECT DATA 7373 04:48:57,720 --> 04:48:58,421 EVERY DAY. 7374 04:48:58,487 --> 04:49:00,823 MUSIC THERAPISTS CHART AND DATA 7375 04:49:00,890 --> 04:49:02,058 HARMONIZE AND GET THE OUTCOMES 7376 04:49:02,124 --> 04:49:04,627 AND LOOKING TO THAT VOLUME OF 7377 04:49:04,694 --> 04:49:06,796 15,000 PATIENTS OVER THE LAST 7378 04:49:06,862 --> 04:49:08,364 THREE YEARS WE CAN LOOK AT 7379 04:49:08,431 --> 04:49:09,699 TRENDS AND WHICH PATIENTS 7380 04:49:09,765 --> 04:49:11,534 RESPOND BETTER AND WHAT OUTCOMES 7381 04:49:11,600 --> 04:49:14,970 BETTER AND DOES TIE IN WITH THE 7382 04:49:15,037 --> 04:49:16,238 PROVIDERS BECAUSE THE NURSES AND 7383 04:49:16,305 --> 04:49:17,306 PHYSICIANS REFER TO THOSE 7384 04:49:17,373 --> 04:49:17,540 VISITS. 7385 04:49:17,606 --> 04:49:22,678 I THINK THE IDEA IS RESEARCH AND 7386 04:49:22,745 --> 04:49:29,051 PRACTICE ARE NOT IMMUTABLE AND 7387 04:49:29,118 --> 04:49:30,720 WE WORKED TOGETHER WE'LL BUILD 7388 04:49:30,786 --> 04:49:32,455 THIS VOLUME AND DATA AND 7389 04:49:32,521 --> 04:49:33,723 HOSPITAL-BASED RESEARCH TOMORROW 7390 04:49:33,789 --> 04:49:34,690 BUT THINK ABOUT WHAT HAPPENS 7391 04:49:34,757 --> 04:49:36,959 EVERY DAY WHAT HAPPENS OUTSIDE 7392 04:49:37,026 --> 04:49:38,961 OF CLINICS AND RESEARCH AND 7393 04:49:39,028 --> 04:49:39,528 AMBULATORY SETTINGS. 7394 04:49:39,595 --> 04:49:42,765 WE HAVE A LOT OF OPTIONS. 7395 04:49:42,832 --> 04:49:44,867 NO QUESTION BUT HOPEFULLY TO SEE 7396 04:49:44,934 --> 04:49:45,201 AS A BENEFIT. 7397 04:49:45,267 --> 04:49:54,510 >> THANK YOU. 7398 04:49:54,577 --> 04:49:59,715 >> I THINK ONE OF THE THINGS 7399 04:49:59,782 --> 04:50:02,852 WE'RE COMING TO UNDERSTAND IS 7400 04:50:02,918 --> 04:50:03,719 THAT TRAUMA DISEASE CONDITIONS 7401 04:50:03,786 --> 04:50:06,956 WE DESCRIBE THEM AS BELONGING TO 7402 04:50:07,022 --> 04:50:07,256 INDIVIDUALS. 7403 04:50:07,323 --> 04:50:08,958 THEY BELONG TO SYSTEMS AND 7404 04:50:09,024 --> 04:50:09,925 FAMILIES. 7405 04:50:09,992 --> 04:50:17,299 SO A BROKEN OR INCOMPLETE 7406 04:50:17,366 --> 04:50:21,103 PREGNANCY IS A LOSS A PARTNER 7407 04:50:21,170 --> 04:50:21,837 RELATIONSHIP. 7408 04:50:21,904 --> 04:50:30,946 A GAIN IN GAIT IS A HOPE FOR A 7409 04:50:31,013 --> 04:50:35,718 FAMILY MEMBER FOR SOMEONE WITH 7410 04:50:35,785 --> 04:50:36,385 PARKINSON'S AND IT'S INTERESTING 7411 04:50:36,452 --> 04:50:40,756 TO HEAR ABOUT THE CONSEQUENCES 7412 04:50:40,823 --> 04:50:46,195 OF INTIMATE SYSTEMS AROUND THE 7413 04:50:46,262 --> 04:50:48,497 INTERVENTIONS YOU ALL ARE SO 7414 04:50:48,564 --> 04:50:50,065 BRAVELY INVOLVED IN. 7415 04:50:50,132 --> 04:50:52,401 >> IF I CAN MAKE A SMALL 7416 04:50:52,468 --> 04:50:54,970 CONTRIBUTION AS TO THINK OF 7417 04:50:55,037 --> 04:50:57,273 RESEARCH AS FIELDS INSTEAD OF 7418 04:50:57,339 --> 04:50:59,642 SUBJECTS AND THE PROGRESSION IS 7419 04:50:59,708 --> 04:51:02,812 YOU START WITH LOCALIZATION. 7420 04:51:02,878 --> 04:51:03,279 FIRST PHRENOLOGY. 7421 04:51:03,345 --> 04:51:06,949 THE BUMP ON THE SCHOOL IS WHY 7422 04:51:07,016 --> 04:51:11,954 GENIUS AND THIS ONE STUPIDITY 7423 04:51:12,021 --> 04:51:15,457 AND WE THINK THERE'S DOMAIN AND 7424 04:51:15,524 --> 04:51:16,559 CONCENTRATION AND THEN 7425 04:51:16,625 --> 04:51:20,563 INCREDIBLE PEOPLE LIKE EDITH 7426 04:51:20,629 --> 04:51:24,867 CAPLIN SAYS HOLD ON THERE'S 7427 04:51:24,934 --> 04:51:26,735 CONNECTIONS HERE AND THEN 7428 04:51:26,802 --> 04:51:29,138 THERE'S NODES AND WE HAVE 7429 04:51:29,205 --> 04:51:30,339 DISTRIBUTIVE NETWORKS AND WHAT 7430 04:51:30,406 --> 04:51:31,407 YOU'RE TALKING ABOUT IS A 7431 04:51:31,473 --> 04:51:34,243 SPECIAL FIELD AND IMPORTANT ONE 7432 04:51:34,310 --> 04:51:35,711 AND I DON'T KNOW YET THE RULES 7433 04:51:35,778 --> 04:51:38,113 OF ENGAGEMENT FOR IT. 7434 04:51:38,180 --> 04:51:41,050 WHICH IS THAT THE MOST 7435 04:51:41,116 --> 04:51:42,418 DISTRIBUTED NETWORK IS NOT FROM 7436 04:51:42,484 --> 04:51:44,320 THIS PART OF THE BRAIN TO THIS 7437 04:51:44,386 --> 04:51:48,958 PART OF THE BRAIN BUT FROM THIS 7438 04:51:49,024 --> 04:51:49,892 BRAIN TO THE BACK BRAIN. 7439 04:51:49,959 --> 04:51:53,462 THERE WAS A TERM CALLED ROMANTIC 7440 04:51:53,529 --> 04:51:59,034 SCIENCE THAT ALEXANDER LURIA 7441 04:51:59,101 --> 04:52:00,970 REPORTED AND THERE'S A 7442 04:52:01,036 --> 04:52:04,273 COMPLEMENT WHICH IS AN NIH 7443 04:52:04,340 --> 04:52:04,807 THING. 7444 04:52:04,874 --> 04:52:09,511 THE E-A THING IS THE CONCEPT OF 7445 04:52:09,578 --> 04:52:10,412 NEURAL HUMANITIES COMING UP AND 7446 04:52:10,479 --> 04:52:12,948 I THINK WHERE THE INTERACTION IS 7447 04:52:13,015 --> 04:52:14,350 BETWEEN THOSE TWO FIELDS IS 7448 04:52:14,416 --> 04:52:16,218 EXACTLY WHERE THE CLINICAL 7449 04:52:16,285 --> 04:52:18,187 OUTCOMES THAT YOU'RE LOOKING FOR 7450 04:52:18,254 --> 04:52:18,954 WILL BE. 7451 04:52:19,021 --> 04:52:22,224 THE MOST DISTRIBUTED NETWORK IS 7452 04:52:22,291 --> 04:52:23,158 ACROSS BRAINS NOT WITHIN. 7453 04:52:23,225 --> 04:52:27,229 >> AND TO ADD TO THAT, I WOULD 7454 04:52:27,296 --> 04:52:34,003 BE A HORRIBLE HOPKINS DOCTOR IF 7455 04:52:34,069 --> 04:52:42,278 I DIDN'T QUOTE AND TUBERCULOSIS 7456 04:52:42,344 --> 04:52:45,881 IS A DISEASE WITH A SOCIETAL 7457 04:52:45,948 --> 04:52:46,916 STANDPOINT AND OF ALL THE THINGS 7458 04:52:46,982 --> 04:52:49,351 WE CAN OFFER IS ART. 7459 04:52:49,418 --> 04:52:53,322 THE MORE WE VIEW THAT AS THE 7460 04:52:53,389 --> 04:52:55,357 ASPECT OF RIFF FROM A SOCIAL 7461 04:52:55,424 --> 04:52:56,592 COHESION IS WHAT WE TRY TO DO 7462 04:52:56,659 --> 04:52:58,861 AND ORGANIZING TO SCIENCE, SURE, 7463 04:52:58,928 --> 04:53:00,963 WE'LL FIGURE THAT OUT BUT FROM 7464 04:53:01,030 --> 04:53:02,665 THAT STANDPOINT WE'LL LED THE 7465 04:53:02,731 --> 04:53:03,732 COMMUNITY LEAD US AS SCIENCE 7466 04:53:03,799 --> 04:53:05,100 FOLLOWS BEHIND. 7467 04:53:05,167 --> 04:53:05,434 >> THANK YOU. 7468 04:53:05,501 --> 04:53:13,909 THANK YOU, EVERYONE. 7469 04:53:13,976 --> 04:53:15,711 >> THANK YOU EVERYONE FROM 7470 04:53:15,778 --> 04:53:17,046 SESSION 2. 7471 04:53:17,112 --> 04:53:17,780 THAT WAS FANTASTIC. 7472 04:53:17,846 --> 04:53:19,715 OUR MUSICIANS, SPEAKERS AND 7473 04:53:19,782 --> 04:53:21,984 PANELISTS AND WE'LL MOVE TO A 7474 04:53:22,051 --> 04:53:25,154 15-MINUTE BREAK. 7475 04:53:25,220 --> 04:53:26,588 WELCOME BACK FROM THE BREAK AND 7476 04:53:26,655 --> 04:53:30,025 READY FOR SESSION 3, RESEARCH ON 7477 04:53:30,092 --> 04:53:37,333 MUSIC, INFORMATION AND HEALTH. 7478 04:53:37,399 --> 04:53:39,335 AND BEFORE IT KICKS OFF WE'RE 7479 04:53:39,401 --> 04:53:42,771 PLEASED TO WELCOME DR. THERESA 7480 04:53:42,838 --> 04:53:43,706 CRUZ DIRECTOR OF THE NATIONAL 7481 04:53:43,772 --> 04:53:46,842 CENTER FOR MEDICAL 7482 04:53:46,909 --> 04:53:49,979 REHABILITATION RESEARCH AT THE 7483 04:53:50,045 --> 04:53:51,647 EUNICE KENNEDY SHRIVER INSTITUTE 7484 04:53:51,714 --> 04:53:53,082 OF HUMAN HEALTH AND HUMAN 7485 04:53:53,148 --> 04:53:55,884 DEVELOPMENT TO OFFER SPECIAL 7486 04:53:55,951 --> 04:53:56,118 REMARKS. 7487 04:53:56,185 --> 04:53:58,821 WELCOME TO THE PODIUM, 7488 04:53:58,887 --> 04:54:09,198 DR. THERESA CRUZ. 7489 04:54:09,565 --> 04:54:10,833 >> THANK YOU. 7490 04:54:10,899 --> 04:54:11,333 GOOD AFTERNOON. 7491 04:54:11,400 --> 04:54:14,336 MY REMARKS ARE GOING TO TOUCH ON 7492 04:54:14,403 --> 04:54:17,706 ACCESSIBILITY SO START WITH A 7493 04:54:17,773 --> 04:54:19,008 VISUAL DESCRIPTION. 7494 04:54:19,074 --> 04:54:22,077 I'M MIDDLE AGED WHITE WOMAN. 7495 04:54:22,144 --> 04:54:24,146 I HAVE SHOULDER LENGTH BROWN 7496 04:54:24,213 --> 04:54:26,482 HAIR AND WEARING A BLACK TOP AND 7497 04:54:26,548 --> 04:54:31,987 MY FESTIVE GREEN BLAZER WORKS 7498 04:54:32,054 --> 04:54:34,823 WELL FOR ST. PATRICK'S DAY AND 7499 04:54:34,890 --> 04:54:37,226 AS CATHERINE SAID I'M THE 7500 04:54:37,292 --> 04:54:37,960 DIRECTOR OF THE NATIONAL CENTER 7501 04:54:38,027 --> 04:54:40,896 FOR MEDICAL REHABILITATION 7502 04:54:40,963 --> 04:54:42,598 RESEARCH AT NICHD. 7503 04:54:42,664 --> 04:54:46,835 OUR DIRECTOR DR. BIANCHI GIVES 7504 04:54:46,902 --> 04:54:52,741 HER WARM REGARDS AND APOLOGIZES 7505 04:54:52,808 --> 04:54:54,476 SHE COULDN'T BE HERE IN PERSON. 7506 04:54:54,543 --> 04:54:56,845 IN ACADEMIA WE OFTEN TALK ABOUT 7507 04:54:56,912 --> 04:54:58,547 IMPOSTER SYNDROME. 7508 04:54:58,614 --> 04:55:02,084 THE IDEA WE HAVE TALENTED BRIGHT 7509 04:55:02,151 --> 04:55:03,986 ACCOMPLISHED PEOPLE AND SOMEHOW 7510 04:55:04,053 --> 04:55:06,088 THEY FEEL INADEQUATE WHEN 7511 04:55:06,155 --> 04:55:06,655 THEY'RE SURROUNDED BY THEIR 7512 04:55:06,722 --> 04:55:16,832 PEERS. 7513 04:55:18,100 --> 04:55:20,903 WITH INCONGRUITY WITH HOW THEY 7514 04:55:20,969 --> 04:55:23,072 FEEL INSIDE AND HOW THEY'RE 7515 04:55:23,138 --> 04:55:23,338 PERCEIVED. 7516 04:55:23,405 --> 04:55:27,176 MY MUSICAL PURSUITS ENDED WITH 7517 04:55:27,242 --> 04:55:28,177 TEACHING LITTLE FINGERS TO PLAY 7518 04:55:28,243 --> 04:55:31,747 AND PULL OUT THE BOOK OVER THE 7519 04:55:31,814 --> 04:55:32,147 WEEKEND. 7520 04:55:32,214 --> 04:55:34,817 IT MIGHT ENCOURAGE ME TO BRING 7521 04:55:34,883 --> 04:55:37,219 THAT ASPECT OF MUSIC BACK INTO 7522 04:55:37,286 --> 04:55:37,786 MY LIFE. 7523 04:55:37,853 --> 04:55:40,122 IT HAS BEEN A PLEASURE TO BE 7524 04:55:40,189 --> 04:55:42,091 PART OF THIS AS A FAN OF THE 7525 04:55:42,157 --> 04:55:48,831 MUSIC AND A FAN OF THE SCIENCE. 7526 04:55:48,897 --> 04:55:51,366 NICHD IS ONE OF THE FEW 7527 04:55:51,433 --> 04:55:53,669 INSTITUTES AT NIH THAT ISN'T 7528 04:55:53,735 --> 04:55:57,673 FOCUSSED ON AN ORGAN OR A 7529 04:55:57,739 --> 04:55:59,741 DISEASE SO OUR MISSION IS 7530 04:55:59,808 --> 04:56:00,109 BROADER. 7531 04:56:00,175 --> 04:56:03,212 AND OUR VISION IS HEALTHY 7532 04:56:03,278 --> 04:56:06,815 PREGNANCIES, HEALTHY CHILDREN, 7533 04:56:06,882 --> 04:56:12,054 HEALTHY AND OPTIMAL LIVES. 7534 04:56:12,121 --> 04:56:13,322 THOSE PRIORITY POPULATIONS, 7535 04:56:13,388 --> 04:56:15,357 PREGNANT PEOPLE, CHILDREN AND 7536 04:56:15,424 --> 04:56:17,159 ADOLESCENTS AND CHILDREN WITH 7537 04:56:17,226 --> 04:56:18,827 DISABILITIES HAVE BEEN WELL 7538 04:56:18,894 --> 04:56:19,461 REPRESENTED IN THE AGENDA TODAY 7539 04:56:19,528 --> 04:56:20,696 AND TOMORROW. 7540 04:56:20,762 --> 04:56:23,398 AND I WANT TO THANK THE 7541 04:56:23,465 --> 04:56:25,434 ORGANIZING COMMITTEE FOR BEING 7542 04:56:25,501 --> 04:56:26,835 SO THOUGHTFUL IN PULLING 7543 04:56:26,902 --> 04:56:30,105 TOGETHER ALL THOSE POPULATIONS 7544 04:56:30,172 --> 04:56:33,842 OF IMPORTANCE. 7545 04:56:33,909 --> 04:56:40,482 WITH MY LAST MINUTE, AS WE MOVE 7546 04:56:40,549 --> 04:56:42,684 ON TO MUSIC, EDUCATION AND 7547 04:56:42,751 --> 04:56:44,119 HEALTH, I'D LIKE TO MAKE A PITCH 7548 04:56:44,186 --> 04:56:48,490 FOR INCLUSION AND ACCESSIBILITY. 7549 04:56:48,557 --> 04:56:52,761 EARLIER THIS YEAR, NIH HOSTED A 7550 04:56:52,828 --> 04:56:56,298 CONFERENCE ON HEALTH DISPARITIES 7551 04:56:56,365 --> 04:56:58,333 EXPERIENCED BY PEOPLE WITH 7552 04:56:58,400 --> 04:56:59,334 DISABILITIES. 7553 04:56:59,401 --> 04:57:00,669 IT WAS A WONDERFUL CONFERENCE 7554 04:57:00,736 --> 04:57:02,771 TALKING ABOUT ABLISM. 7555 04:57:02,838 --> 04:57:04,873 WE STARTED THAT CONFERENCE WITH 7556 04:57:04,940 --> 04:57:09,444 MUSIC AND I GOT TO INTERVIEW 7557 04:57:09,511 --> 04:57:11,413 MUSICIAN GALEN LEE. 7558 04:57:11,480 --> 04:57:14,783 AND SHE SPOKE ABOUT THE 7559 04:57:14,850 --> 04:57:16,318 IMPORTANCE OF HAVING MUSIC 7560 04:57:16,385 --> 04:57:18,921 TEACHERS WHO WERE WELCOMING OF 7561 04:57:18,987 --> 04:57:21,390 HER AND WERE WILLING TO TRY OUT 7562 04:57:21,456 --> 04:57:25,260 DIFFERENT ACCOMMODATIONS SO SHE 7563 04:57:25,327 --> 04:57:27,362 COULD LEARN TO PLAY THE VIOLIN 7564 04:57:27,429 --> 04:57:28,330 AND THAT'S HER CAREER. 7565 04:57:28,397 --> 04:57:30,032 SHE DOES SO HOLDING IT WITH MORE 7566 04:57:30,098 --> 04:57:33,635 OF A CELLO POSTER TO ACCOMMODATE 7567 04:57:33,702 --> 04:57:36,104 HER SHORT STATURE. 7568 04:57:36,171 --> 04:57:40,342 AND THAT WASN'T AN EXPENSIVE 7569 04:57:40,409 --> 04:57:40,676 ACCOMMODATION. 7570 04:57:40,742 --> 04:57:41,810 IT DIDN'T REQUIRE EXTRA 7571 04:57:41,877 --> 04:57:42,211 EQUIPMENT. 7572 04:57:42,277 --> 04:57:44,913 IT JUST REQUIRED THIS OPENNESS 7573 04:57:44,980 --> 04:57:48,116 AND AN ATTITUDE AND WILLINGNESS 7574 04:57:48,183 --> 04:57:50,352 TO BE INCLUSIVE AND CREATIVE. 7575 04:57:50,419 --> 04:57:53,222 SO WHEN WE MOVE INTO THE NEXT 7576 04:57:53,288 --> 04:57:54,823 SECTION I WOULD ASK WE THINK 7577 04:57:54,890 --> 04:57:56,525 ABOUT ARE THERE BARRIERS WE HAVE 7578 04:57:56,592 --> 04:57:59,127 IN OUR CLINICAL PRACTICE AND OUR 7579 04:57:59,194 --> 04:58:01,430 RESEARCH THAT MIGHT BE 7580 04:58:01,496 --> 04:58:03,799 PREVENTING MORE PEOPLE FROM 7581 04:58:03,865 --> 04:58:05,901 BEING A PART OF THE REALLY GREAT 7582 04:58:05,968 --> 04:58:07,135 WORK WE DO HERE AND HOW MUCH 7583 04:58:07,202 --> 04:58:08,704 MORE IMPACTFUL WE COULD BE WITH 7584 04:58:08,770 --> 04:58:11,607 THAT INCLUSION. 7585 04:58:11,673 --> 04:58:13,242 SO WITH THAT, I WILL SAY THANK 7586 04:58:13,308 --> 04:58:15,077 YOU AND TURN IT OVER TO SESSION 7587 04:58:15,143 --> 04:58:23,252 3. 7588 04:58:23,318 --> 04:58:24,820 >> THANK YOU, DR. CRUZ WE 7589 04:58:24,886 --> 04:58:26,622 APPRECIATE YOUR COMMENTS 7590 04:58:26,688 --> 04:58:29,391 PARTICULARLY ON ACCESSIBILITY. 7591 04:58:29,458 --> 04:58:36,098 IT'S TIME IT BEGIN SESSION 3, 7592 04:58:36,164 --> 04:58:38,834 RESEARCH ON MUSIC, EDUCATION AND 7593 04:58:38,900 --> 04:58:49,444 HEALTH AND LED BY SUNIL IYENGAR 7594 04:58:53,048 --> 04:58:58,153 AND DANA SCHLOESSER AND ANTHONY 7595 04:58:58,220 --> 04:58:58,387 BRANDT. 7596 04:58:58,453 --> 04:59:02,357 DR. COLLINS WARNED US WE'D BE 7597 04:59:02,424 --> 04:59:04,693 DRINKING FROM A FIRE HOSE. 7598 04:59:04,760 --> 04:59:07,796 HOW ARE WE DOING? 7599 04:59:07,863 --> 04:59:08,330 GLUG, GLUG. 7600 04:59:08,397 --> 04:59:11,833 I SHARE THE ADMIRATION FOR HOW 7601 04:59:11,900 --> 04:59:13,402 MUCH HAS HAPPENED AND HOW MUCH 7602 04:59:13,468 --> 04:59:15,904 HAZE GROWN AND HOW MUCH THE 7603 04:59:15,971 --> 04:59:17,072 FIELD'S ACCOMPLISHED IN THE LAST 7604 04:59:17,139 --> 04:59:18,106 FEW YEARS. 7605 04:59:18,173 --> 04:59:21,510 VERY GRATEFUL TO BE HERE. 7606 04:59:21,576 --> 04:59:24,112 WE'RE FREEBLTH 7607 04:59:27,382 --> 04:59:28,116 WE'RE FREQUENTLY REMINDED 7608 04:59:28,183 --> 04:59:34,289 CAREERS CAN BE EXTENDED AND AND 7609 04:59:34,356 --> 04:59:36,091 WE ALSO KNOW FROM TESTIMONY AND 7610 04:59:36,158 --> 04:59:37,225 LITTLE RESEARCH HOW ONE CATEGORY 7611 04:59:37,292 --> 04:59:40,862 CAN REINFORCE THE OTHER 7612 04:59:40,929 --> 04:59:41,963 ENRICHING MEDICAL, SCIENTIFIC 7613 04:59:42,030 --> 04:59:43,899 AND ARTISTIC LIVES IN THE LIVES 7614 04:59:43,965 --> 04:59:46,702 OF PATIENTS, STUDENTS AND 7615 04:59:46,768 --> 04:59:46,968 AUDIENCES. 7616 04:59:47,035 --> 04:59:50,172 DR. WONG EXEMPLIFIES THE 7617 04:59:50,238 --> 04:59:55,911 TRADITION AND PEDIATRICIAN AND 7618 04:59:55,977 --> 04:59:58,580 ASSOCIATE PROFESSOR AT HARVARD 7619 04:59:58,647 --> 05:00:04,219 MEDICAL SCHOOL AND THE ARTS AND 7620 05:00:04,286 --> 05:00:08,056 HUMANITIES HAVE BECOME 7621 05:00:08,123 --> 05:00:10,559 INTERWOVEN AND LEARNED TO PLAY 7622 05:00:10,625 --> 05:00:12,094 PIANO AND GUITAR BEFORE TURNING 7623 05:00:12,160 --> 05:00:16,865 TO THE VIOL AINTO ADULTHOOD AND 7624 05:00:16,932 --> 05:00:19,701 CURRENTLY A VIOLINIST IN THE 7625 05:00:19,768 --> 05:00:23,605 LONGWOOD SYMPHONY ORCHESTRA AND 7626 05:00:23,672 --> 05:00:26,141 LED THE GROUP AS PRESIDENT FOR 7627 05:00:26,208 --> 05:00:29,077 20 YEARS AND ALSO INVOLVED WITH 7628 05:00:29,144 --> 05:00:32,481 OTHER MUSIC EDUCATION 7629 05:00:32,547 --> 05:00:32,781 INITIATIVES. 7630 05:00:32,848 --> 05:00:34,816 I'M GLAD SHE'LL KICK OFF THE 7631 05:00:34,883 --> 05:00:36,885 MUSIC EDUCATION AND HEALTH AND 7632 05:00:36,952 --> 05:00:40,589 RESEARCH GRANTS FROM THE NIH. 7633 05:00:40,655 --> 05:00:41,390 I'M EQUALLY GLAD MUSIC EDUCATION 7634 05:00:41,456 --> 05:00:42,858 IS BEING EXPLORED IN CONNECTION 7635 05:00:42,924 --> 05:00:44,926 TO HEALTH AND HUMAN DEVELOPMENT. 7636 05:00:44,993 --> 05:00:47,162 AND I HOPE THE BOND BECOMES MORE 7637 05:00:47,229 --> 05:00:48,296 FIRMLY ESTABLISHED IN THE MINDS 7638 05:00:48,363 --> 05:00:50,832 OF EDUCATORS, POLICY MAKERS AND 7639 05:00:50,899 --> 05:00:52,901 THE SCIENTIFIC COMMUNITY. 7640 05:00:52,968 --> 05:00:55,904 DR. WANG WILL BE JOINED BY HER 7641 05:00:55,971 --> 05:00:57,672 DAUGHTER, JEN CHANG WITH A 7642 05:00:57,739 --> 05:01:02,411 MASTER'S FROM JULIARD AND 7643 05:01:02,477 --> 05:01:03,445 CONTRIBUTED TO THE MISSION OF 7644 05:01:03,512 --> 05:01:06,915 THE NATIONAL ENDOWMENT FOR THE 7645 05:01:06,982 --> 05:01:11,953 ARTS AS THE WHITE HOUSE LIAISON 7646 05:01:12,020 --> 05:01:12,521 NOTABLY WHEN PARTNERSHIPS 7647 05:01:12,587 --> 05:01:18,093 BETWEEN OUR AGENCY AND THE CDC. 7648 05:01:18,160 --> 05:01:28,470 GIVE THEM A HAND. 7649 05:03:00,629 --> 05:03:01,296 >> THANK YOU. 7650 05:03:01,363 --> 05:03:04,900 THAT WAS WRITTEN IN 1982. 7651 05:03:04,966 --> 05:03:08,103 IT EXPRESSES NOSTALGIA AND 7652 05:03:08,169 --> 05:03:09,437 SADNESS AS HE WAS LEAVING A 7653 05:03:09,504 --> 05:03:10,906 MUSIC CAMP AT THE END OF THE 7654 05:03:10,972 --> 05:03:11,306 SUMMER. 7655 05:03:11,373 --> 05:03:17,245 THE CAMP IS AT THE BASE OF THE 7656 05:03:17,312 --> 05:03:19,548 MOUNTAINS ABOUT THREE HOURS AND 7657 05:03:19,614 --> 05:03:22,817 A REALITY AWAY FROM NEW YORK 7658 05:03:22,884 --> 05:03:23,752 CITY. 7659 05:03:23,818 --> 05:03:23,885 . 7660 05:03:23,952 --> 05:03:27,689 CONTOURS OF THE MUSIC WITH RISES 7661 05:03:27,756 --> 05:03:29,491 AND FALLS YOU CAN ALMOST 7662 05:03:29,558 --> 05:03:30,825 VISUALIZE THE BEAUTIFUL 7663 05:03:30,892 --> 05:03:41,369 MOUNTAINS HE WAS WRITE FOR. 7664 05:03:42,604 --> 05:03:45,173 AND BOTH BREATHE IN THE MOUNTAIN 7665 05:03:45,240 --> 05:03:47,776 AND FEEL LIKE YOU'RE COME BEING 7666 05:03:47,842 --> 05:03:48,376 BACK HOME. 7667 05:03:48,443 --> 05:03:56,851 WHEN J. UNGER WROTE THE WORK HE 7668 05:03:56,918 --> 05:03:58,386 WOULDN'T IMAGINE IT WOULD BECOME 7669 05:03:58,453 --> 05:04:00,522 PART OF OUR LIVES. 7670 05:04:00,589 --> 05:04:03,725 IN 1984 IT WAS HEARD BY KEN 7671 05:04:03,792 --> 05:04:08,763 BURNS WHO INCORPORATED INTO A 7672 05:04:08,830 --> 05:04:10,765 DOCUMENTARY THE CIVIL WAR AND 7673 05:04:10,832 --> 05:04:13,268 WHEN THEY WERE WRITING A FINAL 7674 05:04:13,335 --> 05:04:14,836 LETTER WITH HIS MUSIC IN THE 7675 05:04:14,903 --> 05:04:17,806 BACKGROUND IS ONE OF THE MOST 7676 05:04:17,872 --> 05:04:22,844 POIGNANT AND MOVING MOVEMENTS OF 7677 05:04:22,911 --> 05:04:24,179 THE FILM. 7678 05:04:24,245 --> 05:04:26,948 THE MUSIC AND FILM HAVE BEEN 7679 05:04:27,015 --> 05:04:28,416 PERMANENTLY FUSED. 7680 05:04:28,483 --> 05:04:30,118 I CAN'T HEAR THE MUSIC WITHOUT 7681 05:04:30,185 --> 05:04:30,986 SHARING THAT EMOTION. 7682 05:04:31,052 --> 05:04:34,522 YEARS LATER, MY HUSBAND AND I 7683 05:04:34,589 --> 05:04:35,457 PLAYED IN A DIFFERENT SETTING 7684 05:04:35,523 --> 05:04:43,565 FOR MY DAUGHTER'S CLASSROOM WE 7685 05:04:43,632 --> 05:04:45,900 PLAYED AT THE END OF THE SCHOOL 7686 05:04:45,967 --> 05:04:47,702 YEAR BEFORE SUMMER AND THEY 7687 05:04:47,769 --> 05:04:49,704 UNDERSTAND THE LONGING AND 7688 05:04:49,771 --> 05:04:52,173 SADNESS WRITTEN INTO THE MUSIC. 7689 05:04:52,240 --> 05:04:55,810 THEY HUGGED EACH OTHER AND THEIR 7690 05:04:55,877 --> 05:04:56,711 TEACHER AS THEY LEFT. 7691 05:04:56,778 --> 05:05:00,048 THESE ARE THE GIFTS WE BESTOW ON 7692 05:05:00,115 --> 05:05:03,585 OUR KIDS WITH MUSIC EDUCATION. 7693 05:05:03,652 --> 05:05:06,821 LEARNING DEEPLY AND COMMUNICATE 7694 05:05:06,888 --> 05:05:09,457 NON VERBALLY AND BUILDING 7695 05:05:09,524 --> 05:05:09,858 MEMORIES. 7696 05:05:09,924 --> 05:05:13,061 AS A PEDIATRICIAN, EDUCATOR AND 7697 05:05:13,128 --> 05:05:14,829 MUSICIAN I'M GRATEFUL FOR THE 7698 05:05:14,896 --> 05:05:18,133 PASSIONATE AND PATIENT MUSIC 7699 05:05:18,199 --> 05:05:19,167 TEACHERS WHO EVERY DAY ARE 7700 05:05:19,234 --> 05:05:20,602 TEACHING OUR KIDS ACROSS THE 7701 05:05:20,669 --> 05:05:21,002 COUNTRY. 7702 05:05:21,069 --> 05:05:24,172 TODAY I'M ALSO GRATEFUL TO ALL 7703 05:05:24,239 --> 05:05:27,208 OF YOU WHO ARE STUDYING THIS 7704 05:05:27,275 --> 05:05:28,410 WORK AND HELPING UNDERSTAND MORE 7705 05:05:28,476 --> 05:05:30,812 WHAT MUSIC IS DOING FOR KIDS IN 7706 05:05:30,879 --> 05:05:34,816 OUR COMMUNITIES ON A COGNITIVE 7707 05:05:34,883 --> 05:05:36,284 AND NEUROSCIENTIFIC LEVEL. 7708 05:05:36,351 --> 05:05:43,458 AS CHILDREN STRUGGLE WITH THE 7709 05:05:43,525 --> 05:05:46,094 PHYSICALITY OF STRUGGLE WITH AN 7710 05:05:46,161 --> 05:05:48,663 INSTRUMENT THEY'RE LEARNING, 7711 05:05:48,730 --> 05:05:53,535 RHYTHM, PATTERN, HARMONY, MELODY 7712 05:05:53,601 --> 05:05:54,135 AT THE SAME TIME THEY'RE 7713 05:05:54,202 --> 05:05:58,073 LEARNING PATIENCE, NON-VERBAL 7714 05:05:58,139 --> 05:05:58,840 COMMUNICATION AND COLLABORATIVE 7715 05:05:58,907 --> 05:05:59,641 RISK TAKING. 7716 05:05:59,708 --> 05:06:02,110 WHEN I WAS A CHILD, MUSIC WAS 7717 05:06:02,177 --> 05:06:04,079 WHERE I WENT TO FIGURE STUFF 7718 05:06:04,145 --> 05:06:04,579 OUT. 7719 05:06:04,646 --> 05:06:06,414 WHEN I WAS HAPPY BUT ALSO WHEN I 7720 05:06:06,481 --> 05:06:09,384 WAS SAD AND MAD AT MY MOM I 7721 05:06:09,451 --> 05:06:10,719 WOULD GO TO MUSIC. 7722 05:06:10,785 --> 05:06:13,054 IT GAVE ME THE SPACE TO THINK, 7723 05:06:13,121 --> 05:06:15,890 TO ENGAGE MY MIND IN A WAY WORDS 7724 05:06:15,957 --> 05:06:16,691 NEVER COULD. 7725 05:06:16,758 --> 05:06:18,693 LATER WHEN I COULDN'T MAKE SENSE 7726 05:06:18,760 --> 05:06:20,795 OF A MATH OR SCIENCE PROBLEM I 7727 05:06:20,862 --> 05:06:23,598 PRACTICED PIANO AND EVERY ONCE 7728 05:06:23,665 --> 05:06:25,867 IN A WHILE THE SCIENCE QUESTION 7729 05:06:25,934 --> 05:06:26,468 WOULD ANSWER ITSELF. 7730 05:06:26,534 --> 05:06:27,969 BUT IT WAS WHEN I STARTED 7731 05:06:28,036 --> 05:06:30,138 PLAYING MUSIC IN HIGH SCHOOL IN 7732 05:06:30,205 --> 05:06:32,340 THE HOSPITALS FOR CHILDREN WHO 7733 05:06:32,407 --> 05:06:34,209 WERE RECOVERING FROM ORTHOPEDIC 7734 05:06:34,275 --> 05:06:34,909 SURGERIES WHEN WE BROUGHT MUSIC 7735 05:06:34,976 --> 05:06:40,081 TO THEM AND THEY LEARNED UKULELE 7736 05:06:40,148 --> 05:06:42,150 I SAW THE REDUCTION OF PAIN AND 7737 05:06:42,217 --> 05:06:44,519 DECIDED TO DEVOTE THE REST OF MY 7738 05:06:44,586 --> 05:06:47,422 LIFE TO MUSIC, EDUCATION AND 7739 05:06:47,489 --> 05:06:47,655 HEALTH. 7740 05:06:47,722 --> 05:06:49,557 IT'S PLAYING MUSIC TOGETHER AND 7741 05:06:49,624 --> 05:06:51,359 PLAYING FOR AUDIENCES THIS IS 7742 05:06:51,426 --> 05:06:54,162 THE MOST CRITICAL ASPECT, THE 7743 05:06:54,229 --> 05:06:58,099 SOCIAL AND EMOTIONAL LEARNING 7744 05:06:58,166 --> 05:06:58,833 BRINGS US TOGETHER. 7745 05:06:58,900 --> 05:07:01,569 PLAYING MUSIC WITH AND FOR 7746 05:07:01,636 --> 05:07:03,438 OTHERS IS A POWERFUL ANECDOTE TO 7747 05:07:03,505 --> 05:07:05,507 THE ISOLATION WE'RE SEEING MORE 7748 05:07:05,573 --> 05:07:09,978 AND MORE ESPECIALLY 7749 05:07:10,044 --> 05:07:12,013 POST-PANDEMIC TO CLOSE I'D LIKE 7750 05:07:12,080 --> 05:07:14,149 TO ASK MY DAUGHTER NO LONGER A 7751 05:07:14,215 --> 05:07:15,750 SECOND GRADER AND WHO MANY KNOW 7752 05:07:15,817 --> 05:07:18,820 FROM THE NEA TO JOIN ME IN 7753 05:07:18,887 --> 05:07:22,857 PLAYING A FULLER VERSION OF THE 7754 05:07:22,924 --> 05:07:25,260 CHAUPIN VERSION OF FAREWELL THAT 7755 05:07:25,326 --> 05:07:35,770 EMBODIES HEALING AND HOPE. 7756 05:10:39,520 --> 05:10:41,089 >> GREAT. 7757 05:10:41,155 --> 05:10:45,059 I'M GLAD TO SEE YOU AND THE 7758 05:10:45,126 --> 05:10:48,162 SESSION WE'RE CO-CHAIRING. 7759 05:10:48,229 --> 05:10:54,369 IT'S MY GREAT HONOR AND I'M DANA 7760 05:10:54,435 --> 05:10:54,802 SCHLOESSER. 7761 05:10:54,869 --> 05:10:57,538 WE HAVE MIRIAM LENSE FROM 7762 05:10:57,605 --> 05:11:02,844 VANDERBILT AND STEVEN HOLOCHWOST 7763 05:11:02,910 --> 05:11:06,147 FROM LEHMAN COLLEGE AND ASSAL 7764 05:11:06,214 --> 05:11:10,518 HABIBI FROM UNIVERSITY OF 7765 05:11:10,585 --> 05:11:14,822 SOUTHERN CALIFORNIA AND JOHN 7766 05:11:14,889 --> 05:11:17,792 IVERSEN FROM McMASTER UNIVERSITY 7767 05:11:17,859 --> 05:11:26,901 AND JENNIFER BUGOS FROM 7768 05:11:26,968 --> 05:11:27,835 UNIVERSITY OF SOUTH FLORIDA. 7769 05:11:27,902 --> 05:11:29,504 I'D LIKE TO INVITE OUR FIRST 7770 05:11:29,570 --> 05:11:34,709 SPEAKER AND WE'LL GET STARTED. 7771 05:11:34,776 --> 05:11:35,143 >> HELLO. 7772 05:11:35,209 --> 05:11:36,411 IT'S WONDERFUL TO BE HERE AND AN 7773 05:11:36,477 --> 05:11:38,880 INCREDIBLE TWO DAYS OF SCIENCE 7774 05:11:38,946 --> 05:11:43,584 AND MUSIC. 7775 05:11:43,651 --> 05:11:44,919 THIS WILL BE MORE INTERESTING 7776 05:11:44,986 --> 05:11:46,220 AND MULTI-MODAL. 7777 05:11:46,287 --> 05:11:48,189 I'LL BE TALKING ABOUT MUSIC AND 7778 05:11:48,256 --> 05:11:49,924 SOCIAL DEVELOPMENT IN EARLY 7779 05:11:49,991 --> 05:11:50,191 CHILDHOOD. 7780 05:11:50,258 --> 05:11:55,730 I WANT TO START BY THANKING THE 7781 05:11:55,797 --> 05:11:58,199 PARTICIPANTS AND COLLEAGUES AND 7782 05:11:58,266 --> 05:12:05,807 THANK MY AND COLLABORATORS AT 7783 05:12:05,873 --> 05:12:09,744 THE NIH AND NEA AND NIMHD AND 7784 05:12:09,811 --> 05:12:10,878 NICHD AND THROUGH THE SOUND 7785 05:12:10,945 --> 05:12:13,648 HEALTH INITIATIVE AND NEA 7786 05:12:13,714 --> 05:12:15,483 RESEARCH LAB GRANT. 7787 05:12:15,550 --> 05:12:18,719 SO THE SOCIAL ENVIRONMENT IS 7788 05:12:18,786 --> 05:12:22,857 REALLY ESSENTIAL FOR SUPPORTING 7789 05:12:22,924 --> 05:12:29,030 CHILD DEVELOPMENT AND LEARNING. 7790 05:12:29,097 --> 05:12:34,869 AND WE KNOW MUSICAL ENGAGEMENT 7791 05:12:34,936 --> 05:12:41,542 IS A UBIQUITOUS PART OF SOCIAL 7792 05:12:41,609 --> 05:12:42,577 DEVELOPMENT AND I'LL GIVE 7793 05:12:42,643 --> 05:12:46,481 EXAMPLES OF MECHANISTIC WORK IN 7794 05:12:46,547 --> 05:12:47,115 SOCIAL COMMUNICATION DEVELOPMENT 7795 05:12:47,181 --> 05:12:50,318 IN INFANTS AND TODDLERS AND HOW 7796 05:12:50,384 --> 05:12:51,319 WE APPLIED THEM TO DEVELOP 7797 05:12:51,385 --> 05:12:54,222 FAMILY AND COMMUNITY-BASED 7798 05:12:54,288 --> 05:12:54,555 INTERVENTIONS. 7799 05:12:54,622 --> 05:12:56,624 SO CRITICAL TO THE SOCIAL 7800 05:12:56,691 --> 05:12:58,192 ENVIRONMENT IS HOW WE INTERACT 7801 05:12:58,259 --> 05:12:59,494 WITH OTHER PEOPLE AND COORDINATE 7802 05:12:59,560 --> 05:13:01,262 OUR SOCIAL INTERACTIONS WITH 7803 05:13:01,329 --> 05:13:03,698 THEM AND KNOW OUR SUCCESS IN 7804 05:13:03,764 --> 05:13:06,200 THESE EARLY COORDINATED SOCIAL 7805 05:13:06,267 --> 05:13:07,468 INTERACTIONS PREDICTS 7806 05:13:07,535 --> 05:13:09,237 ATTACHMENT, COGNITION AND 7807 05:13:09,303 --> 05:13:10,438 LANGUAGE. 7808 05:13:10,505 --> 05:13:12,473 HOW DO WE DO THIS AND COORDINATE 7809 05:13:12,540 --> 05:13:13,407 WITH OTHERS? 7810 05:13:13,474 --> 05:13:15,776 ONE CANDIDATE IS RHYTHM AND 7811 05:13:15,843 --> 05:13:17,512 RHYTHMIC BEHAVIOR IS PROMINENT 7812 05:13:17,578 --> 05:13:18,212 IN INFANT-DIRECTED 7813 05:13:18,279 --> 05:13:24,619 COMMUNICATION. 7814 05:13:24,685 --> 05:13:33,327 THIS IS FUN LIKE ROULETTE. 7815 05:13:33,394 --> 05:13:35,830 THERE'S RIDGE NIM STRUCTURE AND 7816 05:13:35,897 --> 05:13:37,064 THERE'S TOUCH AND PHYSICAL 7817 05:13:37,131 --> 05:13:41,402 MOVEMENTS, GESTURES ALL OF WHICH 7818 05:13:41,469 --> 05:13:43,804 ARE SYNCHRONIZED AND IT 7819 05:13:43,871 --> 05:13:46,240 MAINTAINS AND MODULATES INFANT'S 7820 05:13:46,307 --> 05:13:47,542 ATTENTION AND THEIR AROUSAL 7821 05:13:47,608 --> 05:13:49,243 LEVELS AND THOSE OF THEIR 7822 05:13:49,310 --> 05:13:49,544 CAREGIVERS. 7823 05:13:49,610 --> 05:13:54,081 SO INFANT-DIRECTED SINGING CAN 7824 05:13:54,148 --> 05:13:55,316 PROVIDE A WINDOW INTO SOCIAL 7825 05:13:55,383 --> 05:14:00,254 DEVELOPMENT AND THE ROLE OF 7826 05:14:00,321 --> 05:14:02,557 RHYTHM. 7827 05:14:02,623 --> 05:14:03,958 WE KNOW ENTRAINMENT PROMOTES 7828 05:14:04,025 --> 05:14:05,193 SOCIAL BEHAVIOR AND CONNECTION. 7829 05:14:05,259 --> 05:14:09,797 WE ASKED IF ENTRAINMENT TO THE 7830 05:14:09,864 --> 05:14:12,200 PREDICTABLE RHYTHMIC STRUCTURE 7831 05:14:12,266 --> 05:14:14,869 SUPPORTS INFANT'S ATTENTION TO 7832 05:14:14,936 --> 05:14:17,405 SALIENT AND MEANINGFUL SOCIAL 7833 05:14:17,471 --> 05:14:18,839 INFORMATION PARTICULARLY LOOKING 7834 05:14:18,906 --> 05:14:24,178 AT THE CAREGIVER'S EYES. 7835 05:14:24,245 --> 05:14:27,415 LOOKING AT SOMEONE EYES HELPS I 7836 05:14:27,481 --> 05:14:30,885 NOW WHAT THEY'RE TENDING TO AND 7837 05:14:30,952 --> 05:14:34,855 NEURO COUPLING AND WE USE EYE 7838 05:14:34,922 --> 05:14:36,123 TRACKING TECHNOLOGY THAT LET'S 7839 05:14:36,190 --> 05:14:39,594 US TRACK INFANT'S MOMENT BY 7840 05:14:39,660 --> 05:14:41,462 MOMENT'S GAZE WITH SOMEONE 7841 05:14:41,529 --> 05:14:46,400 ENGAGING IN SONG AND THE GAZE IS 7842 05:14:46,467 --> 05:14:46,734 MO 7843 05:14:46,801 --> 05:14:47,001 MODULATED. 7844 05:14:47,068 --> 05:14:49,403 DO INFANTS LOOK MORE AT THE EYES 7845 05:14:49,470 --> 05:14:52,273 OF A SINGER TIME LOCKED TO THE 7846 05:14:52,340 --> 05:14:53,608 RHYTHMICALLY IMPORTANT MOMENTS 7847 05:14:53,674 --> 05:14:55,409 OR BEATS OF THE SINGING? 7848 05:14:55,476 --> 05:14:58,679 WE STUDIED THIS AT TWO MONTHS OF 7849 05:14:58,746 --> 05:15:00,214 AGE. 7850 05:15:00,281 --> 05:15:02,817 THAT'S WHEN THEY FIRST 7851 05:15:02,883 --> 05:15:04,518 MEANINGFULLY INTERACTING WITH 7852 05:15:04,585 --> 05:15:15,129 PEOPLE AND YOU CAN SEE AS EARLY 7853 05:15:15,596 --> 05:15:20,034 AS AS TWO MONTHS AND THEY'RE 7854 05:15:20,101 --> 05:15:22,703 DOING THEIR OWN RHYTHMIC 7855 05:15:22,770 --> 05:15:23,771 BEHAVIORS LIKE BABBLING AND THE 7856 05:15:23,838 --> 05:15:28,709 BEAT IS INCREASED AND THERE'S A 7857 05:15:28,776 --> 05:15:30,244 FOURFOLD INCREASED IN EYE 7858 05:15:30,311 --> 05:15:32,713 LOCKING TO THE BEATS OF THE 7859 05:15:32,780 --> 05:15:34,849 SINGING AND THIS WAS EXCITING 7860 05:15:34,915 --> 05:15:37,218 AND SUGGESTS SENSITIVITY TO 7861 05:15:37,285 --> 05:15:38,386 RHYTHM MAY SUPPORT THE SOCIAL 7862 05:15:38,452 --> 05:15:39,687 BEHAVIOR OF EYE LOOKING IN 7863 05:15:39,754 --> 05:15:40,721 INFANTS AND THEY DONT LOOK FOR 7864 05:15:40,788 --> 05:15:41,322 NO REASON. 7865 05:15:41,389 --> 05:15:46,360 THEN WE ASKED WHAT ARE SINGERS 7866 05:15:46,427 --> 05:15:48,195 DOING ON THE BEATS? 7867 05:15:48,262 --> 05:15:52,633 I'M SURE THIS PERSON IS SUPER 7868 05:15:52,700 --> 05:15:54,635 PLEASED ABOUT THE PICTURE AND 7869 05:15:54,702 --> 05:15:57,338 THEY'RE INCREASING THEIR 7870 05:15:57,405 --> 05:15:59,774 POSITIVE AFFECT AND DECREASING 7871 05:15:59,840 --> 05:16:02,677 THEIR NEUTRAL AFFECT AND MORE 7872 05:16:02,743 --> 05:16:05,579 LIKELY TO STILL AND INHIBIT 7873 05:16:05,646 --> 05:16:06,514 THEIR BLINKING AND TIME LOCKED 7874 05:16:06,580 --> 05:16:09,417 TO THE BEATS THE CAREGIVERS ARE 7875 05:16:09,483 --> 05:16:10,851 PROVIDING IMPORTANT SOCIAL 7876 05:16:10,918 --> 05:16:11,986 EXCUSE. 7877 05:16:12,053 --> 05:16:14,822 -- CUES AND AT TWO MONTHS 7878 05:16:14,889 --> 05:16:16,424 INFANTS ARE RELIANT ON THE 7879 05:16:16,490 --> 05:16:21,862 RHYTHM TO MODULATE THEIR EYE 7880 05:16:21,929 --> 05:16:29,236 LOOKING AND DEVELOPMENT THEY 7881 05:16:29,303 --> 05:16:30,905 BECOME SENSITIZED AND IF YOU 7882 05:16:30,971 --> 05:16:32,673 LOOK AT THE RHYTHMICALLY 7883 05:16:32,740 --> 05:16:35,710 ENTRAINED EYE LOOKING AND THE 7884 05:16:35,776 --> 05:16:40,781 CAREGIVER'S SOCIAL CUES IT 7885 05:16:40,848 --> 05:16:48,222 SUGGESTS THROUGH INTERACTION 7886 05:16:48,289 --> 05:16:51,325 INFANTS ARE PROVIDING KEY 7887 05:16:51,392 --> 05:16:53,027 OPPORTUNITIES FOR SOCIAL 7888 05:16:53,094 --> 05:16:54,195 LEARNING. 7889 05:16:54,261 --> 05:16:55,863 WE STUDIED IN NEUROTYPICAL 7890 05:16:55,930 --> 05:17:00,801 INFANTS AND WE'VE BEEN FOLLOWING 7891 05:17:00,868 --> 05:17:02,937 THIS UP IN AUTISM A 7892 05:17:03,003 --> 05:17:04,338 CHARACTERISTIC IS COORDINATION 7893 05:17:04,405 --> 05:17:10,144 AND TIMING OF SOCIAL BEHAVIORS. 7894 05:17:10,211 --> 05:17:12,713 DESPITE THE DIFFERENCES WE SEE 7895 05:17:12,780 --> 05:17:15,716 MANY HAVE MAINTAINED PREFERENCES 7896 05:17:15,783 --> 05:17:17,551 FOR RHYTHMIC AND VISUAL STIMULI. 7897 05:17:17,618 --> 05:17:21,655 WE DID THE SAME EYE TRACKING 7898 05:17:21,722 --> 05:17:22,890 EXPERIMENT AND THEY VIEWED 7899 05:17:22,957 --> 05:17:26,861 VIDEOS OF SOMEONE ENGAGING THEM 7900 05:17:26,927 --> 05:17:34,969 WITH INFANT DIRECTED SONG. 7901 05:17:35,035 --> 05:17:39,206 I CAN SEE IN NON-AUTISTIC 7902 05:17:39,273 --> 05:17:41,308 TODDLERS ON THE TOP AND BOTTOM 7903 05:17:41,375 --> 05:17:42,510 BOTH ARE EXHIBITING THE 7904 05:17:42,576 --> 05:17:45,279 ENTRAINED EYE LOOKING AND 7905 05:17:45,346 --> 05:17:46,847 INCREASING THEIR EYE LOOKING 7906 05:17:46,914 --> 05:17:48,182 TIME LOCKED TO THE BEAT THOUGH 7907 05:17:48,249 --> 05:17:54,054 IT'S REDUCED AND MORE VARIABLE 7908 05:17:54,121 --> 05:17:58,325 IN THE AUTISTIC TODDLERS AND WE 7909 05:17:58,392 --> 05:18:01,762 MADE IT NO LONGER RHYTHMICALLY 7910 05:18:01,829 --> 05:18:05,800 PREDICTABLE AND ENTRAINMENT IS 7911 05:18:05,866 --> 05:18:08,736 REDUCED IN BOTH GROUPS WHEN YOU 7912 05:18:08,803 --> 05:18:10,771 HAVE PREDICTIVE STABILITY OF THE 7913 05:18:10,838 --> 05:18:13,774 STIMULI AND IN AUTISM IT'S 7914 05:18:13,841 --> 05:18:18,212 FURTHER REDUCED AND THEY HAD A 7915 05:18:18,279 --> 05:18:18,746 REDUCED AND MORE VARIABLE 7916 05:18:18,813 --> 05:18:20,281 RESPONSE. 7917 05:18:20,347 --> 05:18:22,850 IT SUGGESTS RHYTHM AND 7918 05:18:22,917 --> 05:18:25,252 PREDICTABLE RHYTHMS OF MUSICAL 7919 05:18:25,319 --> 05:18:26,520 INTERACTIONS CAN PROVIDE A 7920 05:18:26,587 --> 05:18:28,189 MECHANISM FOR SUPPORTING SOCIAL 7921 05:18:28,255 --> 05:18:28,889 AND COMMUNICATION SKILLS AND 7922 05:18:28,956 --> 05:18:30,224 THIS IS SOMETHING WE'RE EXCITED 7923 05:18:30,291 --> 05:18:32,760 TO BE FOLLOWING UP NOW IN OUR 7924 05:18:32,827 --> 05:18:35,529 R33 CLINICAL TRIAL IN AUTISM 7925 05:18:35,596 --> 05:18:36,297 THROUGH THE SOUND HEALTH 7926 05:18:36,363 --> 05:18:38,866 INITIATIVE AND IN FUTURE WORK 7927 05:18:38,933 --> 05:18:43,637 PLANS. 7928 05:18:43,704 --> 05:18:44,972 WE'VE THOUGHT ABOUT 7929 05:18:45,039 --> 05:18:47,007 PREDICTABILITY AND OTHER 7930 05:18:47,074 --> 05:18:48,242 ELEMENTS IN WAYS THAT MUSIC 7931 05:18:48,309 --> 05:18:50,277 REALLY ALIGNS WITH SUPPORTING 7932 05:18:50,344 --> 05:18:52,112 SOCIAL COMMUNICATION AND WHAT WE 7933 05:18:52,179 --> 05:18:53,781 KNOW MOST ABOUT EVIDENCE-BASED 7934 05:18:53,848 --> 05:18:54,915 PRACTICES FOR SOCIAL 7935 05:18:54,982 --> 05:18:57,151 COMMUNICATION INTERVENTIONS BOTH 7936 05:18:57,218 --> 05:19:00,187 IN GENERAL AS WELL AS IN AUTISM 7937 05:19:00,254 --> 05:19:00,521 SPECIFICALLY. 7938 05:19:00,588 --> 05:19:02,590 SO OUR PRESS PLAY FRAMEWORK 7939 05:19:02,656 --> 05:19:03,757 HIGHLIGHTS THE ROLE OF 7940 05:19:03,824 --> 05:19:06,126 PREDICTABILITY AND REINFORCEMENT 7941 05:19:06,193 --> 05:19:09,563 OR REWARD PROCESSING AND EMOTION 7942 05:19:09,630 --> 05:19:11,665 REGULATION OF SHARED ATTENTION 7943 05:19:11,732 --> 05:19:13,934 AND AS WELL AS THAT NATURAL 7944 05:19:14,001 --> 05:19:16,403 SOCIAL CONTEXT AS INGREDIENTS 7945 05:19:16,470 --> 05:19:18,072 COMBINED AND ALIGNED WELL 7946 05:19:18,138 --> 05:19:21,041 BETWEEN MUSICAL EXPERIENCES AND 7947 05:19:21,108 --> 05:19:21,509 SOCIAL INTERVENTION. 7948 05:19:21,575 --> 05:19:22,943 WHAT'S IMPORTANT IS WHEN WE 7949 05:19:23,010 --> 05:19:25,746 THINK ABOUT THESE COMPONENTS 7950 05:19:25,813 --> 05:19:28,382 WHEN THEY'RE DEPLOYED DURING 7951 05:19:28,449 --> 05:19:29,483 MUSICAL INTERACTIONS THEY WON'T 7952 05:19:29,550 --> 05:19:30,818 ONLY IMPACT THE CHILD IMPACT 7953 05:19:30,885 --> 05:19:33,988 THEIR PLAY PARTNER SUCH AS THE 7954 05:19:34,054 --> 05:19:34,488 PARENT. 7955 05:19:34,555 --> 05:19:36,223 WE TALK ABOUT SYSTEMS EARLIER. 7956 05:19:36,290 --> 05:19:42,129 AS ONE EXAMPLE OF ONE WAY WE'VE 7957 05:19:42,196 --> 05:19:46,867 APPLIED THESE COMPONENTS OF 7958 05:19:46,934 --> 05:19:48,802 SHARED ATTENTION WE HAD THEM 7959 05:19:48,869 --> 05:19:51,872 SHARE IN PICTURE BOOKS OR SONG 7960 05:19:51,939 --> 05:19:53,641 BOOKS AND PARENTS GAZE MORE AT 7961 05:19:53,707 --> 05:19:54,742 THEIR CHILDREN DURING SONG 7962 05:19:54,808 --> 05:19:54,942 BOOKS. 7963 05:19:55,009 --> 05:19:57,378 I DON'T NEED TO LOOK AT THE BOOK 7964 05:19:57,444 --> 05:19:58,712 TO SEE WHAT HAPPENS WITH WHEELS 7965 05:19:58,779 --> 05:20:01,715 ON THE BUS, THEY GO ROUND AND 7966 05:20:01,782 --> 05:20:02,116 ROUND. 7967 05:20:02,182 --> 05:20:03,317 THAT'S WHAT HAPPENS. 7968 05:20:03,384 --> 05:20:05,085 BUT IT SHOWS YOU JUST BY 7969 05:20:05,152 --> 05:20:06,220 SHIFTING THE CONTEXT TO A 7970 05:20:06,287 --> 05:20:08,789 MUSICAL CONTEXT YOU END UP 7971 05:20:08,856 --> 05:20:10,391 SHIFTING THE SOCIAL ENVIRONMENT 7972 05:20:10,457 --> 05:20:13,360 FOR A CHILD BECAUSE YOU'RE NOW 7973 05:20:13,427 --> 05:20:14,295 NATURALLY IMPACTING THE RESPONSE 7974 05:20:14,361 --> 05:20:15,396 OF THEIR PLAY PARTNER. 7975 05:20:15,462 --> 05:20:18,198 IN THIS CASE MAKING THE PARENT 7976 05:20:18,265 --> 05:20:19,567 AVAILABLE FOR ANY SOCIAL CUES 7977 05:20:19,633 --> 05:20:20,234 THE CHILD PROVIDES BECAUSE 7978 05:20:20,301 --> 05:20:23,237 THEY'RE LOOKING AT THEM. 7979 05:20:23,304 --> 05:20:25,172 WE'VE ALSO THOUGHT HOW WE CON 7980 05:20:25,239 --> 05:20:28,609 TAKE THESE COMPONENTS OF PRESS 7981 05:20:28,676 --> 05:20:30,744 PLAY MODEL AND HOW THEY APPLY 7982 05:20:30,811 --> 05:20:31,912 BETWEEN AND WITHIN FAMILIES NOW 7983 05:20:31,979 --> 05:20:33,280 IN A COMMUNITY SETTING. 7984 05:20:33,347 --> 05:20:35,716 WHEN WE WANT TO SUPPORT CHILD 7985 05:20:35,783 --> 05:20:37,585 DEVELOPMENT AND CHILD LEARNING 7986 05:20:37,651 --> 05:20:38,252 IT'S IMPORTANT TO SUPPORT THEIR 7987 05:20:38,319 --> 05:20:39,687 SOCIAL PARTICIPATION AND WHEN 7988 05:20:39,753 --> 05:20:41,221 YOU TALK ABOUT LITTLE KIDS LIKE 7989 05:20:41,288 --> 05:20:43,591 INFANTS AND TODDLERS, THAT MEANS 7990 05:20:43,657 --> 05:20:44,391 SUPPORTING THE SOCIAL 7991 05:20:44,458 --> 05:20:46,060 PARTICIPATION OF THE FAMILY MORE 7992 05:20:46,126 --> 05:20:46,560 BROADLY. 7993 05:20:46,627 --> 05:20:47,928 THE INFANT IS NOT DRIVING OR 7994 05:20:47,995 --> 05:20:49,029 TAKING THE BUS ON THEIR OWN. 7995 05:20:49,096 --> 05:20:51,231 SOMEONE HAS TO BRING THEM. 7996 05:20:51,298 --> 05:20:53,367 YOU HAVE TO SUPPORT THE WHOLE 7997 05:20:53,434 --> 05:20:57,871 FAMILY IN HAVING THESE 7998 05:20:57,938 --> 05:20:58,505 EXPERIENCES. 7999 05:20:58,572 --> 05:21:03,677 WE'VE DESIGNED THE PARENT CLASS 8000 05:21:03,744 --> 05:21:05,279 FAMILIES FOR THOSE WITH AND 8001 05:21:05,346 --> 05:21:08,349 WITHOUT NEURAL DIFFERENCES LIKE 8002 05:21:08,415 --> 05:21:10,050 AUTISM AND THEY LEARN 8003 05:21:10,117 --> 05:21:14,021 PARENT-BASED STRATEGIES TO 8004 05:21:14,088 --> 05:21:18,225 SUPPORT THEIR USE OF POSITIVE 8005 05:21:18,292 --> 05:21:19,393 PARENT STRATEGIES AND PARENT 8006 05:21:19,460 --> 05:21:20,861 DISCUSSION AND CONNECTION ALL 8007 05:21:20,928 --> 05:21:22,696 WITHIN A MUSIC CLASS FORMAT. 8008 05:21:22,763 --> 05:21:25,499 SO WE'VE SEEN POSITIVE EFFECTS 8009 05:21:25,566 --> 05:21:28,102 OF THIS CLASS ON FAMILIES' 8010 05:21:28,168 --> 05:21:30,237 SOCIAL CONNECTION WITHIN AND 8011 05:21:30,304 --> 05:21:33,173 BETWEEN FAMILIES AND PARENTS' 8012 05:21:33,240 --> 05:21:38,879 AFFECT REGULATION AND POSITIVE 8013 05:21:38,946 --> 05:21:40,748 PARENTING STRATEGIES AND MUSIC 8014 05:21:40,814 --> 05:21:41,982 CLASS LET ME SEE THERE'S NOTHING 8015 05:21:42,049 --> 05:21:45,285 WE CAN'T DO FROM A FAMILY AND 8016 05:21:45,352 --> 05:21:48,222 HIGHLIGHTS MUSIC AS AN 8017 05:21:48,288 --> 05:21:49,390 EMPOWERING AND MEANINGFUL 8018 05:21:49,456 --> 05:21:51,558 EXPERIENCE AND A WAY TO THINK 8019 05:21:51,625 --> 05:21:54,194 HOW MUSIC IS IMPACTING WHOLE 8020 05:21:54,261 --> 05:21:57,865 SYSTEMS. 8021 05:21:57,931 --> 05:22:02,736 SO IN SUMMARY, OUR NIH HEALTH 8022 05:22:02,803 --> 05:22:04,471 WORK AND RESEARCH LAB WORK 8023 05:22:04,538 --> 05:22:05,372 ADVANCED OUR UNDERSTANDING OF 8024 05:22:05,439 --> 05:22:10,844 THE WAYS MUSIC AND RHYTHM ARE 8025 05:22:10,911 --> 05:22:12,646 NATURAL COMPONENTS OF SOCIAL 8026 05:22:12,713 --> 05:22:13,213 INTERACTION AND CAN PROVIDE 8027 05:22:13,280 --> 05:22:13,847 FOUNDATIONAL OPPORTUNITIES FOR 8028 05:22:13,914 --> 05:22:17,785 SOCIAL DEVELOPMENT AND 8029 05:22:17,851 --> 05:22:18,085 CONNECTION. 8030 05:22:18,152 --> 05:22:20,354 AND MUSICAL EXPERIENCE SUPPORT 8031 05:22:20,421 --> 05:22:21,722 CHILDREN AND THEIR CAREGIVERS AS 8032 05:22:21,789 --> 05:22:24,224 A PLATFORM AND WHEN WE THINK OF 8033 05:22:24,291 --> 05:22:26,193 FUTURE DIRECTIONS FOR RESEARCH I 8034 05:22:26,260 --> 05:22:27,261 WANT TO HIGHLIGHT THE SOCIAL 8035 05:22:27,327 --> 05:22:29,063 ENVIRONMENT BEING SO CRITICAL 8036 05:22:29,129 --> 05:22:29,763 FOR SUPPORTING CHILD LEARNING 8037 05:22:29,830 --> 05:22:31,098 AND CHILD DEVELOPMENT WE NEED TO 8038 05:22:31,165 --> 05:22:33,333 CONSIDER BOTH THE MECHANISMS AND 8039 05:22:33,400 --> 05:22:34,902 IMPACTS OF MUSICAL EXPERIENCES 8040 05:22:34,968 --> 05:22:36,937 AT THE LEVEL OF THE CHILD, 8041 05:22:37,004 --> 05:22:39,506 FAMILY AND THE COMMUNITY IN 8042 05:22:39,573 --> 05:22:42,242 ORDER TO HAVE THE MOST IMPACT. 8043 05:22:42,309 --> 05:22:52,786 THANK YOU ALL FOR YOUR TIME. 8044 05:23:02,162 --> 05:23:10,938 >> GOOD AFTERNOON. 8045 05:23:11,004 --> 05:23:16,610 IT REALLY IS LIKE ROULETTE. 8046 05:23:16,677 --> 05:23:22,850 ANY THOUGHTS? 8047 05:23:22,916 --> 05:23:24,251 I'M THANKFUL AND HUMBLED TO BE 8048 05:23:24,318 --> 05:23:27,421 PART OF THE CONVENING. 8049 05:23:27,488 --> 05:23:29,890 I'M STEVEN HOLOCHWOST AN 8050 05:23:29,957 --> 05:23:32,459 ASSOCIATE PROFESSOR IN THE 8051 05:23:32,526 --> 05:23:34,628 DEPARTMENT OF PSYCHOLOGY AT 8052 05:23:34,695 --> 05:23:37,564 LEHMANN COLLEGE PART OF THE CITY 8053 05:23:37,631 --> 05:23:39,733 COLLEGE IN NEW YORK. 8054 05:23:39,800 --> 05:23:43,470 ONE OF THE BEST PARTS IS RUNNING 8055 05:23:43,537 --> 05:23:45,906 THE RESEARCH LAB BY THE NATIONAL 8056 05:23:45,973 --> 05:23:52,813 ENDOWMENT FOR THE ARTS I CO-LEAD 8057 05:23:52,880 --> 05:23:54,114 WITH MY COLLEAGUES. 8058 05:23:54,181 --> 05:23:55,549 THIS AFTERNOON I'M GOING DISCUSS 8059 05:23:55,616 --> 05:23:56,750 TWO STUDIES. 8060 05:23:56,817 --> 05:23:58,852 ONE FROM THE REACH LAB AND ONE 8061 05:23:58,919 --> 05:24:01,889 THAT PREDATE THE LAB BUT ALSO 8062 05:24:01,955 --> 05:24:10,030 SUPPORT THE -- SUPPORTED BY THE 8063 05:24:10,097 --> 05:24:11,765 ENDOWMENT ONE IS TUNING THE 8064 05:24:11,832 --> 05:24:13,367 HEARTSTRINGS AND THERE'S A 8065 05:24:13,433 --> 05:24:15,169 COMMUNITY-BASED PROGRAM THAT 8066 05:24:15,235 --> 05:24:17,905 OFFERS INTENSIVE MUSICAL 8067 05:24:17,971 --> 05:24:19,406 TRAINING TO CHILDREN FROM PRE-K 8068 05:24:19,473 --> 05:24:20,407 TO HIGH SCHOOL. 8069 05:24:20,474 --> 05:24:22,609 IN OUR PREVIOUS WORK WITH POP WE 8070 05:24:22,676 --> 05:24:24,344 FOUND CHILDREN RANDOMLY ASSIGNED 8071 05:24:24,411 --> 05:24:26,680 TO PARTICIPATE EXHIBITED BETTER 8072 05:24:26,747 --> 05:24:30,217 PERFORMANCE ON MEASURES OF 8073 05:24:30,284 --> 05:24:31,952 EXECUTIVE FUNCTIONS, COGNITIVE 8074 05:24:32,019 --> 05:24:33,587 CAPABILITIES, ESSENTIAL SCHOOL 8075 05:24:33,654 --> 05:24:35,389 READINESS AND SUCCESS AND 8076 05:24:35,455 --> 05:24:40,394 STANDARDIZED TEST SCORES. 8077 05:24:40,460 --> 05:24:50,838 THE QUESTION WAS WHY? 8078 05:24:53,407 --> 05:24:59,913 THE PARASYMPATHETIC SYSTEM IS 8079 05:24:59,980 --> 05:25:02,850 BEING THOUGHT OF AS RESTING AND 8080 05:25:02,916 --> 05:25:05,118 DIGESTING AND MODULATING 8081 05:25:05,185 --> 05:25:06,253 METABOLIC ACTIVITY UNDER A RANGE 8082 05:25:06,320 --> 05:25:08,155 OF CONDITIONS INCLUDING NOT 8083 05:25:08,222 --> 05:25:12,226 ADVERSIVE BUT ENGAGING OR EVEN 8084 05:25:12,292 --> 05:25:12,726 SOMEWHAT CHALLENGING. 8085 05:25:12,793 --> 05:25:15,362 AND THAT CERTAINLY DESCRIBE THE 8086 05:25:15,429 --> 05:25:17,898 CONDITIONS CHILDREN OFTEN 8087 05:25:17,965 --> 05:25:19,833 ENCOUNTER IN THE CLASSROOM 8088 05:25:19,900 --> 05:25:20,868 INCLUDING THE EARLY EDUCATION 8089 05:25:20,934 --> 05:25:23,804 CLASSROOM AND DATA FROM ANOTHER 8090 05:25:23,871 --> 05:25:25,672 STUDY AND KIDS WOULD BOP AROUND 8091 05:25:25,739 --> 05:25:28,008 FROM THE PRESCHOOL CLASSROOM AND 8092 05:25:28,075 --> 05:25:29,409 TWO CHILDREN PULLED OUT OF OUR 8093 05:25:29,476 --> 05:25:30,777 SAMPLE AND ONE THING YOU CAN SEE 8094 05:25:30,844 --> 05:25:32,913 IS THERE'S A TREMENDOUS AMOUNT 8095 05:25:32,980 --> 05:25:34,681 OF VARIABILITY BOTH BETWEEN AND 8096 05:25:34,748 --> 05:25:36,116 WITHIN CHILDREN AND WHAT'S 8097 05:25:36,183 --> 05:25:41,054 HAPPENING IN THE SYSTEMS AN 8098 05:25:41,121 --> 05:25:43,523 THEY'RE MOVING ACROSS THE 8099 05:25:43,590 --> 05:25:44,591 NEUROPHYSIOLOGICAL POSSIBLE 8100 05:25:44,658 --> 05:25:44,791 RANGE. 8101 05:25:44,858 --> 05:25:47,060 THIS IS ONE SNIPPET. 8102 05:25:47,127 --> 05:25:49,563 THIS IS GOING ON ALL THE TIME IN 8103 05:25:49,630 --> 05:25:51,798 EDUCATIONAL CONTEXT. 8104 05:25:51,865 --> 05:25:54,234 OUR BROAD HYPOTHESIS FOR TUNING 8105 05:25:54,301 --> 05:25:57,871 THE HEARTSTRINGS WAS ENGAGING IN 8106 05:25:57,938 --> 05:25:59,072 MUSICAL INSTRUCTION DAY AFTER 8107 05:25:59,139 --> 05:26:02,409 DAY OR WEEK AFTER WEEK MAY 8108 05:26:02,476 --> 05:26:04,177 REFINE OR TUNE THE WAY THEY USE 8109 05:26:04,244 --> 05:26:09,182 THE RESOURCES AFFORDED BY THE 8110 05:26:09,249 --> 05:26:11,585 PARASYMPATHETIC SYSTEMS AND 8111 05:26:11,652 --> 05:26:13,220 EFFICIENTLY USE THEM IN MUSICAL 8112 05:26:13,287 --> 05:26:14,354 INSTRUCTION AND NON-MUSICAL 8113 05:26:14,421 --> 05:26:23,063 EDUCATIONAL CONTEXTS. 8114 05:26:23,130 --> 05:26:23,964 SO WE'RE CURRENTLY IN THE 8115 05:26:24,031 --> 05:26:25,565 PROCESS OF TESTING THIS BY 8116 05:26:25,632 --> 05:26:27,668 WORKING WITH CHILDREN RANDOMLY 8117 05:26:27,734 --> 05:26:29,536 ASSIGNED TO PARTICIPATE IN POP 8118 05:26:29,603 --> 05:26:31,772 EARLY AS KINDERGARTNERS OR FIRST 8119 05:26:31,838 --> 05:26:32,239 GRADERS. 8120 05:26:32,306 --> 05:26:34,841 CHILDREN IN OUR STUDY 8121 05:26:34,908 --> 05:26:38,178 PARTICIPATE IN A BATTERY OF 8122 05:26:38,245 --> 05:26:39,346 EXECUTIVE FUNCTION TESTS AT THE 8123 05:26:39,413 --> 05:26:40,781 BEGINNING AND END OF THE 8124 05:26:40,847 --> 05:26:42,215 ACADEMIC YEAR WHERE THEY 8125 05:26:42,282 --> 05:26:43,583 PARTICIPATE IN POP OR WOULD HAVE 8126 05:26:43,650 --> 05:26:45,919 IN THE CASE OF KIDS ASSIGNED IN 8127 05:26:45,986 --> 05:26:47,654 THE CONTROL GROUP AND DURING THE 8128 05:26:47,721 --> 05:26:58,265 TASKS WE CONTINUALLY MONITOR THE 8129 05:26:58,966 --> 05:27:07,274 PARASYMPATHETIC SYSTEM AND THE 8130 05:27:07,341 --> 05:27:10,077 DATA WILL ALLOW US TO TEST OUR 8131 05:27:10,143 --> 05:27:11,945 SPECIFIC HYPOTHESIS AFTER A YEAR 8132 05:27:12,012 --> 05:27:17,384 OF MUSICAL INSTRUCTION THROUGH 8133 05:27:17,451 --> 05:27:22,823 POP CHILDREN EXHIBIT HIGHER 8134 05:27:22,889 --> 05:27:23,857 LEVELS OF PARASYMPATHETIC 8135 05:27:23,924 --> 05:27:24,992 ACTIVITY WILL BE ASSOCIATED WITH 8136 05:27:25,058 --> 05:27:28,362 BETTER PERFORMANCE ON THE TASKS 8137 05:27:28,428 --> 05:27:30,831 AS WELL AS IMPROVED GRADES AND 8138 05:27:30,897 --> 05:27:32,132 TEST SCORES. 8139 05:27:32,199 --> 05:27:33,934 I ASKED OR UNDERSTOOD MY 8140 05:27:34,001 --> 05:27:36,370 ASSIGNMENT WAS TO TALK ABOUT THE 8141 05:27:36,436 --> 05:27:37,771 CHALLENGES INHERENT IN THE WORK 8142 05:27:37,838 --> 05:27:39,239 AND THE BIGGEST CHALLENGE IS 8143 05:27:39,306 --> 05:27:42,843 GETTING A CARDIAC MONITOR ON 8144 05:27:42,909 --> 05:27:46,213 CHILDREN ATTENDING A SCHOOL RUN 8145 05:27:46,279 --> 05:27:46,513 BY NUNS. 8146 05:27:46,580 --> 05:27:48,015 WITH YOUNGER CHILDREN AND WHEN 8147 05:27:48,081 --> 05:27:54,755 WE DO THE WORK WITH PRESCHOOLERS 8148 05:27:54,821 --> 05:27:57,157 WE ASK THEIR PARENTS OR TEACHERS 8149 05:27:57,224 --> 05:27:59,960 TO PUT THEM ON AND IT'S NOT HARD 8150 05:28:00,027 --> 05:28:05,499 WITH 3-YEAR-OLDS GET TO TAKE 8151 05:28:05,565 --> 05:28:06,833 THEIR SHIRTS OFF AND THE 8152 05:28:06,900 --> 05:28:08,335 COMPUTER INTERFERES WITH THE 8153 05:28:08,402 --> 05:28:10,837 WATCH SIGNALS BECAUSE OF THE 8154 05:28:10,904 --> 05:28:18,245 HANDS AND HENCE THE EAR LOBE 8155 05:28:18,311 --> 05:28:28,121 PUL 8156 05:28:28,188 --> 05:28:30,257 PULSEOMETER AND THERE WAS A 8157 05:28:30,323 --> 05:28:32,325 CHANGE IN THE EAR LOBE AND WORKS 8158 05:28:32,392 --> 05:28:34,061 LESS WELL THE DARKER THE SKIN 8159 05:28:34,127 --> 05:28:35,062 TONE AND ALMOST ALL THE CHILDREN 8160 05:28:35,128 --> 05:28:40,400 IN OUR STUDY ARE FROM RACIALLY 8161 05:28:40,467 --> 05:28:41,401 OR ETHNICALLY MINORITIZED 8162 05:28:41,468 --> 05:28:44,271 GROUPS. 8163 05:28:44,337 --> 05:28:49,142 IT LEAVES US WITH THE INGAR 8164 05:28:49,209 --> 05:28:49,342 6,000. 8165 05:28:49,409 --> 05:28:51,545 A HOMEMADE WEARABLE CARDIAC 8166 05:28:51,611 --> 05:28:54,047 MONITOR EMBEDDED IN A SHIRT 8167 05:28:54,114 --> 05:28:55,949 CHILDREN CAN THREE TIMES OUT OF 8168 05:28:56,016 --> 05:28:58,151 FOUR PUT ON THEMSELVES NOT ON 8169 05:28:58,218 --> 05:28:59,686 THE FIRST TRI AND THEY COME OUT 8170 05:28:59,753 --> 05:29:01,822 AND ALL WE HAVE TO DO IS ADJUST 8171 05:29:01,888 --> 05:29:03,857 THE STRAPS IN THE BACK AND 8172 05:29:03,924 --> 05:29:04,958 THEY'RE GOOD TO GO. 8173 05:29:05,025 --> 05:29:09,262 IT'S ONE OF THESE MONITORS 8174 05:29:09,329 --> 05:29:10,931 DESIGN FOR ATHLETES. 8175 05:29:10,997 --> 05:29:12,866 THEY'RE QUITE RESISTANT TO 8176 05:29:12,933 --> 05:29:22,809 MOVEMENT ARTIFACTS. 8177 05:29:22,876 --> 05:29:30,117 OUR GOAL IS TO LOOK AT THE 8178 05:29:30,183 --> 05:29:31,184 LARGER CHANGES WE EXPECT TO SEE 8179 05:29:31,251 --> 05:29:32,319 ACROSS THE SCHOOL YEAR WHEN WE 8180 05:29:32,385 --> 05:29:35,655 LOOK AT THE BEGINNING OF THE END 8181 05:29:35,722 --> 05:29:39,426 OF YEAR ARE A PRODUCT OF MANY 8182 05:29:39,493 --> 05:29:43,597 SMALL SCALE CHANGES HAPPENING 8183 05:29:43,663 --> 05:29:45,098 DURING THE INSTRUCTION AND WHY 8184 05:29:45,165 --> 05:29:48,068 HE'S WEARING THE MONITOR NOT 8185 05:29:48,135 --> 05:29:50,871 JUST IN THE CONTEXT OF THE TASK 8186 05:29:50,937 --> 05:30:00,514 BUT WHILE DANCING. 8187 05:30:00,580 --> 05:30:02,516 MY REACH COLLEAGUE DEMONSTRATED 8188 05:30:02,582 --> 05:30:05,685 THAT THIS WAS THE CASE. 8189 05:30:05,752 --> 05:30:07,854 THESE LONGER TERM 8190 05:30:07,921 --> 05:30:12,292 NEUROPHYSIOLOGICAL CHANGES CAN 8191 05:30:12,359 --> 05:30:15,195 DETECTED NOT HERE AND NOW AND 8192 05:30:15,262 --> 05:30:16,229 WORKED WITH THE KALEIDOSCOPE 8193 05:30:16,296 --> 05:30:21,801 PROGRAM A HEAD START PROGRAM IN 8194 05:30:21,868 --> 05:30:24,237 PHILADELPHIA DIRECTED BY A 8195 05:30:24,304 --> 05:30:29,409 PANELIST TARRELL DAVIS AND SAID 8196 05:30:29,476 --> 05:30:33,947 THEY HAD HIGHER LEVELS OF SCHOOL 8197 05:30:34,014 --> 05:30:38,018 READINESS TO HEAD START PROGRAMS 8198 05:30:38,084 --> 05:30:40,520 OF COMPARABLE QUALITY INCLUDING 8199 05:30:40,587 --> 05:30:42,155 VOCABULARY AND EMOTION 8200 05:30:42,222 --> 05:30:42,455 REGULATION. 8201 05:30:42,522 --> 05:30:43,690 THE QUESTION IS WHY? 8202 05:30:43,757 --> 05:30:45,258 ONE REASON MAY BE PARTICIPATION 8203 05:30:45,325 --> 05:30:49,329 IN ARTS INTEGRATED INSTRUCTION 8204 05:30:49,396 --> 05:30:51,064 HELPS REGULATE THE ACTIVITY OF 8205 05:30:51,131 --> 05:30:53,733 THE HPA AXIS IN CHILDREN AMONG 8206 05:30:53,800 --> 05:30:57,003 THOSE WHO IT'S MORE LIKELY TO 8207 05:30:57,070 --> 05:30:58,305 HAVE BECOME DYSREGULATED BY 8208 05:30:58,371 --> 05:30:59,639 EXPOSURE TO POVERTY AND 8209 05:30:59,706 --> 05:31:01,608 ASSOCIATED RISK FACTORS AND 8210 05:31:01,675 --> 05:31:03,810 THAT'S WHAT THEY FOUND IN THE 8211 05:31:03,877 --> 05:31:07,948 STUDY PUBLISHED IN 2017 CHILDREN 8212 05:31:08,014 --> 05:31:08,515 ATTENDING THE KALEIDOSCOPE 8213 05:31:08,582 --> 05:31:12,786 PROGRAM EXHIBITED LOWER LEVEL OF 8214 05:31:12,852 --> 05:31:16,923 HPA AXIS ACTIVITY AS MEASURED BY 8215 05:31:16,990 --> 05:31:18,258 CORTISOL AND THOUGH THERE'S 8216 05:31:18,325 --> 05:31:21,094 AFFECTS WERE NOT UNIQUE TO MUSIC 8217 05:31:21,161 --> 05:31:22,462 CLASSES CHILDREN DID EXHIBIT 8218 05:31:22,529 --> 05:31:24,130 LOWER LEVELS OF CORTISOL WHEN 8219 05:31:24,197 --> 05:31:27,033 PARTICIPATING IN THOSE CLASSES 8220 05:31:27,100 --> 05:31:28,802 AND THOSE INFORMED THE WORK IN 8221 05:31:28,868 --> 05:31:30,237 THE RESEARCH LAB WHICH EXAMINES 8222 05:31:30,303 --> 05:31:35,542 THE FACTORS IN MUSIC EDUCATION 8223 05:31:35,609 --> 05:31:41,448 THAT MAY LEAD TO THESE EFFECT 8224 05:31:41,514 --> 05:31:43,250 AND EARLY MUSIC EDUCATORS MAY BE 8225 05:31:43,316 --> 05:31:47,487 A SALIENT FACTOR AND ACTIVITIES 8226 05:31:47,554 --> 05:31:53,393 DURING MUSIC AND INSTRUCTION MAY 8227 05:31:53,460 --> 05:31:53,793 A 8228 05:31:53,860 --> 05:31:55,595 LEAD TO ADDITIONAL REDUCTION IN 8229 05:31:55,662 --> 05:31:57,430 HDA ACTIVITIES. 8230 05:31:57,497 --> 05:31:59,499 IN A PAPER RECENTLY PUBLISHED WE 8231 05:31:59,566 --> 05:32:02,669 REPORTED RESULTS AND TESTED THE 8232 05:32:02,736 --> 05:32:04,070 FIRST SET AND FOUND CHILDREN'S 8233 05:32:04,137 --> 05:32:06,840 LEVELS OF HPA ACCESS ACTIVITY 8234 05:32:06,906 --> 05:32:08,541 WERE LOWER WHEN MUSIC EDUCATORS 8235 05:32:08,608 --> 05:32:11,978 GOT OUT OF THE WAY AND ALLOWED 8236 05:32:12,045 --> 05:32:13,480 YOUNG CHILDREN TO DIRECT 8237 05:32:13,546 --> 05:32:14,648 OPPORTUNITIES IN MUSIC EDUCATION 8238 05:32:14,714 --> 05:32:16,783 CLASSES AND WHEN THEY INTERACTED 8239 05:32:16,850 --> 05:32:18,852 MORE POSITIVELY WITH CHILDREN 8240 05:32:18,918 --> 05:32:22,455 AND IN OUR ANALYSES WE STARTED 8241 05:32:22,522 --> 05:32:25,025 TO TRY TO IDENTIFY SPECIFIC 8242 05:32:25,091 --> 05:32:26,192 ACTIVITIES INCLUDING SINGING AND 8243 05:32:26,259 --> 05:32:29,262 PLAYING INSTRUMENTS THAT ARE 8244 05:32:29,329 --> 05:32:29,896 CONSISTENTLY ASSOCIATED WITH 8245 05:32:29,963 --> 05:32:34,834 LOWER LEVELS OF HPA AXIS 8246 05:32:34,901 --> 05:32:37,771 ACTIVITY. 8247 05:32:37,837 --> 05:32:39,839 IN OUR FUTURE WORK WE WANT TO 8248 05:32:39,906 --> 05:32:40,707 CONTINUE ALONG THE LINES 8249 05:32:40,774 --> 05:32:42,142 DEEPENING OUR UNDERSTANDING OF 8250 05:32:42,208 --> 05:32:44,311 THE SPECIFIC ASPECTS OF MUSIC 8251 05:32:44,377 --> 05:32:46,079 EDUCATION THAT FOSTER YOUNG 8252 05:32:46,146 --> 05:32:47,480 CHILDREN'S SCHOOL READINESS AND 8253 05:32:47,547 --> 05:32:52,185 SUCCESS HOWEVER, WE'D LIKE TO 8254 05:32:52,252 --> 05:32:55,822 EXPAND THE MECHANISMS TO 8255 05:32:55,889 --> 05:32:57,223 ENCOMPASS MULTI-SYSTEMIC 8256 05:32:57,290 --> 05:32:59,926 FUNCTION EXAMINING SYMPATHETIC 8257 05:32:59,993 --> 05:33:02,362 AND HPA AXIS ACTIVITY. 8258 05:33:02,429 --> 05:33:04,431 TO END I'LL THANK CHILDREN AND 8259 05:33:04,497 --> 05:33:04,698 FAMILIES. 8260 05:33:04,764 --> 05:33:06,866 I BEAT THE SIGN. 8261 05:33:06,933 --> 05:33:07,734 GOOD FOR ME. 8262 05:33:07,801 --> 05:33:10,370 THANK CHILDREN AND FAMILIES. 8263 05:33:10,437 --> 05:33:14,474 OUR PARTNERS PLAY ON PHILLY AND 8264 05:33:14,541 --> 05:33:15,942 SETTLEMENT MUSIC SCHOOL AND THE 8265 05:33:16,009 --> 05:33:18,345 NATIONAL ENDOWMENT FOR THE ARTS. 8266 05:33:18,411 --> 05:33:28,588 THANK YOU. 8267 05:33:33,593 --> 05:33:34,828 >> HELLO. 8268 05:33:34,894 --> 05:33:35,562 GOOD AFTERNOON. 8269 05:33:35,628 --> 05:33:42,235 MY NAME IS ASSAL HABIBI AT THE 8270 05:33:42,302 --> 05:33:45,205 BRAIN AND ACTIVITY INSTITUTE 8271 05:33:45,271 --> 05:33:46,406 FROM UNIVERSITY OF SOUTHERN 8272 05:33:46,473 --> 05:33:46,706 CALIFORNIA. 8273 05:33:46,773 --> 05:33:48,441 I'LL TALK ABOUT EXECUTIVE 8274 05:33:48,508 --> 05:33:48,942 FUNCTIONS. 8275 05:33:49,008 --> 05:33:50,176 STEVEN BRIEFLY TALKED ABOUT 8276 05:33:50,243 --> 05:33:50,410 THEM. 8277 05:33:50,477 --> 05:33:52,178 THE CONSTRUCT OF EXECUTIVE 8278 05:33:52,245 --> 05:33:54,247 FUNCTIONS ARE WORKING MEMORY, 8279 05:33:54,314 --> 05:33:57,751 RESPONSE INHIBITION AND TASK 8280 05:33:57,817 --> 05:33:58,184 SEARCHING. 8281 05:33:58,251 --> 05:34:00,253 I'LL PRESENT DATA SPECIFICALLY 8282 05:34:00,320 --> 05:34:02,288 ON WORKING MEMORY AND 8283 05:34:02,355 --> 05:34:03,289 INHIBITION. 8284 05:34:03,356 --> 05:34:05,325 RESULTS FROM A LONGITUDINAL 8285 05:34:05,392 --> 05:34:07,694 STUDY A CROSS-SECTIONAL STUDY 8286 05:34:07,761 --> 05:34:09,129 MOVING TOWARDS THE RCT THAT WE 8287 05:34:09,195 --> 05:34:13,500 ARE CURRENTLY CONDUCTING. 8288 05:34:13,566 --> 05:34:16,736 THIS IS A LONGITUDINAL STUDY 8289 05:34:16,803 --> 05:34:18,772 START FROM 2012 PARTLY FUNDED BY 8290 05:34:18,838 --> 05:34:20,774 THE NEA. 8291 05:34:20,840 --> 05:34:22,842 SEVEN YEARS OF DATA. 8292 05:34:22,909 --> 05:34:25,178 WE COLLECTED DATA FROM CHILDREN 8293 05:34:25,245 --> 05:34:26,846 IN A MUSIC TRAINING PROGRAM AND 8294 05:34:26,913 --> 05:34:30,350 COMPARED THEM TO CHILDREN IN A 8295 05:34:30,417 --> 05:34:32,452 GROUP NOT DOING ANYTHING 8296 05:34:32,519 --> 05:34:33,820 SPECIFIC MUSIC OR SPORTS. 8297 05:34:33,887 --> 05:34:35,522 IT'S NOT A RANDOMIZED CONTROL 8298 05:34:35,588 --> 05:34:36,256 TRIAL. 8299 05:34:36,322 --> 05:34:37,991 WE RECRUITED CHILDREN TO THE 8300 05:34:38,057 --> 05:34:39,192 MUSIC PROGRAM TO THE RESEARCH 8301 05:34:39,259 --> 05:34:42,362 AFTER THEY SIGNED UP FOR MUSIC. 8302 05:34:42,429 --> 05:34:44,664 HOWEVER, WE DID BASELINE TESTING 8303 05:34:44,731 --> 05:34:46,332 AND ESTABLISHED AT LEAST FROM A 8304 05:34:46,399 --> 05:34:47,333 STATISTICAL PERSPECTIVE THERE 8305 05:34:47,400 --> 05:34:48,234 WERE NO DIFFERENCES BETWEEN THE 8306 05:34:48,301 --> 05:34:51,471 GROUPS. 8307 05:34:51,538 --> 05:34:53,273 AND I'M OUTLINING THE SCHEDULE 8308 05:34:53,339 --> 05:34:58,845 OF TESTING AND WE DID FUNCTIONAL 8309 05:34:58,912 --> 05:35:04,217 AND ANATOMICAL MRI AND EEG AND 8310 05:35:04,284 --> 05:35:06,853 IT'S TAKES WORK TO KEEP A CHILD 8311 05:35:06,920 --> 05:35:09,489 STILL AND THE FUNCTIONAL WORK 8312 05:35:09,556 --> 05:35:11,925 EEG AND MRI HAD EMPHASIS ON 8313 05:35:11,991 --> 05:35:13,193 EXECUTIVE SKILLS. 8314 05:35:13,259 --> 05:35:14,828 I'M GOING TO BE SHARING SOME OF 8315 05:35:14,894 --> 05:35:15,595 THAT TODAY. 8316 05:35:15,662 --> 05:35:18,832 STARTING WITH WORKING MEMORY IN 8317 05:35:18,898 --> 05:35:22,335 THE AUDITORY DOMAIN WE ASKED 8318 05:35:22,402 --> 05:35:24,204 CHILDREN TO JUDGE PAIRS OF 8319 05:35:24,270 --> 05:35:24,471 MELODIES. 8320 05:35:24,537 --> 05:35:26,639 SECOND THE SECOND PAIR IS 8321 05:35:26,706 --> 05:35:27,841 DIFFERENT AND SOMETIMES THE 8322 05:35:27,907 --> 05:35:28,041 SAME. 8323 05:35:28,107 --> 05:35:29,209 IT REQUIRES YOU TO GET THE FIRST 8324 05:35:29,275 --> 05:35:31,711 PART IN YOUR WORKING MEMORY AND 8325 05:35:31,778 --> 05:35:33,112 COMPARE THE SECOND PART TO IT. 8326 05:35:33,179 --> 05:35:38,618 WHAT WE OBSERVED IS AFTER TWO 8327 05:35:38,685 --> 05:35:39,953 YEARS OF TRAINING THE CHILDREN 8328 05:35:40,019 --> 05:35:41,554 IN THE MUSIC TRAINING PROGRAM 8329 05:35:41,621 --> 05:35:44,390 WERE NOT ONLY BETTER AT 8330 05:35:44,457 --> 05:35:46,426 DETECTING DEVIATIONS IN THE 8331 05:35:46,493 --> 05:35:48,261 RHYTHMIC OR PITCH ENVIRONMENT 8332 05:35:48,328 --> 05:35:50,196 BUT AN ELECTROPHYSIOLOGY 8333 05:35:50,263 --> 05:35:52,465 PERSPECTIVE THERE WAS A SIGNAL 8334 05:35:52,532 --> 05:35:54,167 OF A RESPONSE WHICH INDEXES 8335 05:35:54,234 --> 05:35:56,202 ATTENTION TO THE AUDITORY 8336 05:35:56,269 --> 05:35:57,837 ENVIRONMENT AND YOU CAN SEE THAT 8337 05:35:57,904 --> 05:35:59,305 P3 IN THE TOP ROW YOU'RE LOOKING 8338 05:35:59,372 --> 05:36:02,008 AT THE BRAIN FROM THE TOP AND 8339 05:36:02,075 --> 05:36:04,811 TOPOGRAPHY OF THE EEG MAPS AND 8340 05:36:04,878 --> 05:36:06,246 THAT DOES NOT EXIST IN THE 8341 05:36:06,312 --> 05:36:06,746 CONTROL GROUP. 8342 05:36:06,813 --> 05:36:10,450 IT SEEMS THERE'S WORKING MEMORY 8343 05:36:10,517 --> 05:36:13,720 IN THE AUDITORY DOMAIN. 8344 05:36:13,786 --> 05:36:15,755 LOOKING AT DELAYED GRATIFICATION 8345 05:36:15,822 --> 05:36:18,324 SO EVERYONE IS PROBABLY FAMILIAR 8346 05:36:18,391 --> 05:36:21,127 WITH THE MARSHMALLOW EXPERIMENT. 8347 05:36:21,194 --> 05:36:23,496 IT'S TRYING TO SEE IF YOU WANT 8348 05:36:23,563 --> 05:36:25,365 TO GET IMMEDIATE REWARD VERSUS 8349 05:36:25,431 --> 05:36:26,566 WAITING FOR A BETTER REWARD IN 8350 05:36:26,633 --> 05:36:29,269 THE FUTURE AND THE WAY WE 8351 05:36:29,335 --> 05:36:30,169 MANIPULATE THIS TASK WE INCREASE 8352 05:36:30,236 --> 05:36:32,238 THE SIZE OF THE REWARD. 8353 05:36:32,305 --> 05:36:35,108 SO SMALL REWARD NOW, OR SMALL 8354 05:36:35,174 --> 05:36:38,511 REWARD IN THE FUTURE, SMALL 8355 05:36:38,578 --> 05:36:40,446 REWARD VERSUS A LARGE REWARD IN 8356 05:36:40,513 --> 05:36:42,248 THE FUTURE. 8357 05:36:42,315 --> 05:36:45,351 AND BASICALLY IT ALLOWS US TO 8358 05:36:45,418 --> 05:36:47,754 SEE HOW MUCH YOUR WILLING TO 8359 05:36:47,820 --> 05:36:49,622 PLAN YOUR FUTURE AND WAIT. 8360 05:36:49,689 --> 05:36:51,891 I WANT TO SHOW YOU THE MUSIC 8361 05:36:51,958 --> 05:36:54,827 GROUP IS ON THE LEFT AND YOU CAN 8362 05:36:54,894 --> 05:36:57,063 SEE THERE'S A DIFFERENTIATION IN 8363 05:36:57,130 --> 05:36:58,932 THE TIME OF WAITING DEPENDING ON 8364 05:36:58,998 --> 05:37:00,567 THE SIZE OF THE AWARD. 8365 05:37:00,633 --> 05:37:02,835 WHEN THE AWARD WAS SMALL 50% OF 8366 05:37:02,902 --> 05:37:04,938 THE TIME WAITED AND 50% OF THE 8367 05:37:05,004 --> 05:37:06,139 TIME WANTED THE REWARD IN THE 8368 05:37:06,205 --> 05:37:06,606 FUTURE. 8369 05:37:06,673 --> 05:37:08,575 WHEN THE SIZE OF THE REWARD IS 8370 05:37:08,641 --> 05:37:10,843 LARGE, 100% OF THE TIME THEY 8371 05:37:10,910 --> 05:37:11,411 WAITED FOR THE REWARD. 8372 05:37:11,477 --> 05:37:12,979 THE CONTROL GROUP WHICH IS ALL 8373 05:37:13,046 --> 05:37:14,714 THE WAY TO THE RIGHT DOES NOT 8374 05:37:14,781 --> 05:37:16,516 HAVE THIS DIFFERENTIATION. 8375 05:37:16,583 --> 05:37:18,384 THESE ARE CHILDREN MATCHED IN 8376 05:37:18,451 --> 05:37:20,453 AGE, SOCIO ECONOMIC STATUS AND 8377 05:37:20,520 --> 05:37:22,055 SEEMS WE DON'T HAVE THAT SENSE 8378 05:37:22,121 --> 05:37:24,257 OF PLANNING FOR THE FUTURE THAT 8379 05:37:24,324 --> 05:37:27,927 CHILDREN IN THE MUSIC GROUP DID. 8380 05:37:27,994 --> 05:37:30,830 WE ALSO DID INHIBITION TESTING 8381 05:37:30,897 --> 05:37:34,567 INSIDE THE SCANNER FOR THOSE 8382 05:37:34,634 --> 05:37:38,137 FAMILIAR WITH THE STROOP TASK IS 8383 05:37:38,204 --> 05:37:42,208 INCONGRUENT VERSUS CONGRUENT 8384 05:37:42,275 --> 05:37:43,376 STIMULUS AND YOU ALWAYS HAVE TO 8385 05:37:43,443 --> 05:37:45,578 NAME THE COLOR. 8386 05:37:45,645 --> 05:37:46,846 I'M SHOWING THE DIFFERENCE 8387 05:37:46,913 --> 05:37:48,281 BETWEEN THE MUSIC AND CONTROL 8388 05:37:48,348 --> 05:37:52,819 GROUP AFTER THREE YEARS OF MUSIC 8389 05:37:52,885 --> 05:37:54,420 TRAINING IN THE CONTRAST. 8390 05:37:54,487 --> 05:37:56,889 AND THESE ARE CLASSIC INHIBITION 8391 05:37:56,956 --> 05:37:58,458 NETWORKS OF THE BRAIN AND YOU 8392 05:37:58,524 --> 05:37:59,392 CAN SEE IN THE MUSIC GROUP 8393 05:37:59,459 --> 05:38:02,829 THERE'S MORE ENGAGEMENT OF THE 8394 05:38:02,895 --> 05:38:06,666 EXECUTIVE NETWORK AND SO YOUR 8395 05:38:06,733 --> 05:38:17,276 INSULA AND CINGULATE AND THE 8396 05:38:19,979 --> 05:38:21,047 PREFRONTAL CORTEX AND IT SEEMS 8397 05:38:21,114 --> 05:38:22,649 TO GO AWAY AFTER THREE YEARS OF 8398 05:38:22,715 --> 05:38:23,149 TRAINING. 8399 05:38:23,216 --> 05:38:26,085 BY THE TIME THEY REACH 8400 05:38:26,152 --> 05:38:27,854 ADOLESCENT AGE 10 TO 12 THERE'S 8401 05:38:27,920 --> 05:38:29,255 LESS DIFFERENCES BETWEEN MUSIC 8402 05:38:29,322 --> 05:38:29,722 AND CONTROL. 8403 05:38:29,789 --> 05:38:31,824 THERE'S STILL SOME DIFFERENCES 8404 05:38:31,891 --> 05:38:34,027 IN THE RIGHT PART OF THE DORSAL 8405 05:38:34,093 --> 05:38:36,229 LATERAL PREFRONTAL CORTEX BUT 8406 05:38:36,295 --> 05:38:40,199 THE CONTROL GROUP GETS CAUGHT UP 8407 05:38:40,266 --> 05:38:42,235 AND THE MUSIC GROUP REACH IT 8408 05:38:42,301 --> 05:38:44,637 EARLIER IN TIME. 8409 05:38:44,704 --> 05:38:46,305 I LOOKED AT THAT IN TERMS OF 8410 05:38:46,372 --> 05:38:46,673 WORKING MEMORY. 8411 05:38:46,739 --> 05:38:49,542 WE PUT THE CONSTRUCTS OF WORKING 8412 05:38:49,609 --> 05:38:51,744 MEMORY WE HAD AND EVERY OTHER 8413 05:38:51,811 --> 05:38:54,080 WORD YOU CAN MEASURE WORKING 8414 05:38:54,147 --> 05:38:57,283 MEMORY AND LOOKED AT IT OVER 8415 05:38:57,350 --> 05:38:59,619 TIME AND THE SLOPE IS DEEPEST AT 8416 05:38:59,686 --> 05:39:01,220 EARLIER AGE. 8417 05:39:01,287 --> 05:39:04,490 IT SEEMS MUSIC TRAINING IS MOST 8418 05:39:04,557 --> 05:39:06,759 EFFECTIVE IN AGES 6 TO 10 AND 8419 05:39:06,826 --> 05:39:11,964 AFTER THAT LEVELLING OFF. 8420 05:39:12,031 --> 05:39:15,401 I'M SHOWING FOR TWO REASONS. 8421 05:39:15,468 --> 05:39:17,136 ONLY LONG-TERM DATA ALLOWS US TO 8422 05:39:17,203 --> 05:39:18,237 SEE THIS AT 10 AND 12 I WOULDN'T 8423 05:39:18,304 --> 05:39:25,645 ABLE TO SEE THIS. 8424 05:39:25,712 --> 05:39:26,979 IMPLEMENTING MUSIC TRAINING AND 8425 05:39:27,046 --> 05:39:34,821 IT'S MORE EFFECTIVE THAN 8426 05:39:34,887 --> 05:39:38,524 BRINGING MUSIC THE POLICY. 8427 05:39:38,591 --> 05:39:42,829 THE CHILDREN WE ALSO THINK SOME 8428 05:39:42,895 --> 05:39:46,532 OF THE RESULTS WHERE AND THEY'RE 8429 05:39:46,599 --> 05:39:49,702 PRIMARILY FROM HISPANIC FAMILIES 8430 05:39:49,769 --> 05:39:54,240 OF LOS ANGELES AND WE DID A 8431 05:39:54,307 --> 05:39:56,075 CROSS SECTIONAL STUDY AND 8432 05:39:56,142 --> 05:40:00,246 THROUGH AN R21 AND OTHERS AND 8433 05:40:00,313 --> 05:40:06,252 LOOKED AT MONOLINGUAL CHILDREN 8434 05:40:06,319 --> 05:40:07,587 AND BEHAVIORALLY THE CHILDREN 8435 05:40:07,653 --> 05:40:10,823 WITH THE MUSIC TRAINING HAD AT 8436 05:40:10,890 --> 05:40:14,827 LEAST TWO YEARS OF TRAINING. 8437 05:40:14,894 --> 05:40:17,563 THE MUSIC GROUP DID BETTER IN 8438 05:40:17,630 --> 05:40:19,565 THE AUDITORY ODD BALL TASK. 8439 05:40:19,632 --> 05:40:23,503 NO DIFFERENCES IN THE VISUAL 8440 05:40:23,569 --> 05:40:26,839 NO-GO TASK AND SOME DIFFERENCE 8441 05:40:26,906 --> 05:40:29,108 MORE ROBUST IN THE AUDITORY 8442 05:40:29,175 --> 05:40:29,342 DOMAIN. 8443 05:40:29,408 --> 05:40:32,311 THIS IS ERP RESPONSES TO THE 8444 05:40:32,378 --> 05:40:34,647 MISTAKE YOU MADE. 8445 05:40:34,714 --> 05:40:36,249 IT'S RESPONSE LOCKED AND ERROR 8446 05:40:36,315 --> 05:40:37,416 RELATED POSITIVITY. 8447 05:40:37,483 --> 05:40:41,487 YOU CAN SEE THERE'S LARGER 8448 05:40:41,554 --> 05:40:44,624 AMPLITUDE AND WHEN THEY MADE A 8449 05:40:44,690 --> 05:40:46,826 MISTAKE 200 MILLISECONDS AFTER 8450 05:40:46,893 --> 05:40:49,028 THEY ARE AWARE AND FOR MUSICIANS 8451 05:40:49,095 --> 05:40:50,830 YOU CAN ALMOST FEEL WHEN YOU 8452 05:40:50,897 --> 05:40:54,233 PRESS THE WRONG NOTE OR WRONG 8453 05:40:54,300 --> 05:41:02,542 STRING. 8454 05:41:02,608 --> 05:41:05,545 THERE ARE STUDIES THAT DRAW 8455 05:41:05,611 --> 05:41:10,750 ATTENTION RESOURCES POR -- FOR 8456 05:41:10,817 --> 05:41:14,821 MUSICIANS AND WE SEE ALLOCATION 8457 05:41:14,887 --> 05:41:16,689 OF ATTENTION TO THE STIMULUS OF 8458 05:41:16,756 --> 05:41:21,594 INTEREST AND THE AMPLITUDE 8459 05:41:21,661 --> 05:41:26,332 CORRELATES IN THE MUSIC GROUP 8460 05:41:26,399 --> 05:41:26,933 WITH PERFORMANCE PRACTICING 8461 05:41:26,999 --> 05:41:30,203 MUSIC THERE'S ADVANTAGES. 8462 05:41:30,269 --> 05:41:33,639 ALL OF THIS HAS LED TO AN RCT. 8463 05:41:33,706 --> 05:41:34,841 THE LONGITUDINAL STUDY WAS NOT 8464 05:41:34,907 --> 05:41:38,678 AN RCT AND THE CROSS-SECTIONAL 8465 05:41:38,744 --> 05:41:40,079 STUDY DID NOT COMPARE THE 8466 05:41:40,146 --> 05:41:41,314 COMPATIBLE GROUPS OF CHILDREN IN 8467 05:41:41,380 --> 05:41:43,649 THE WAY WE WANTED. 8468 05:41:43,716 --> 05:41:46,786 THIS IS A STUDY JOINTLY FUNDED 8469 05:41:46,853 --> 05:41:50,022 BY NIH AND NEA AND WE STARTED 8470 05:41:50,089 --> 05:41:51,924 BAST LAST YEAR. 8471 05:41:51,991 --> 05:41:54,827 WE RECRUITED AND RANDOMLY 8472 05:41:54,894 --> 05:41:56,596 ASSIGNED 40 CHILDREN EITHER TO A 8473 05:41:56,662 --> 05:41:57,730 MUSIC PROGRAM OR THEATRE 8474 05:41:57,797 --> 05:41:59,699 PROGRAM. 8475 05:41:59,765 --> 05:42:00,900 AGAIN, THESE ARE CHILDREN FROM 8476 05:42:00,967 --> 05:42:05,905 LOW SEC AND HISPANIC BACKGROUND 8477 05:42:05,972 --> 05:42:08,808 AND THEY'RE GOING TO THE PROGRAM 8478 05:42:08,875 --> 05:42:10,743 THREE TIMES A WEEK AND THEY'RE 8479 05:42:10,810 --> 05:42:15,915 IN THE MUSIC PROGRAM THEY'RE 8480 05:42:15,982 --> 05:42:19,252 LEARNING VIOLIN AND THEATRE 8481 05:42:19,318 --> 05:42:21,220 PROGRAM IS LEARNING BASIC DRAMA. 8482 05:42:21,287 --> 05:42:23,122 I DON'T GET TO SEE WHAT THEY'RE 8483 05:42:23,189 --> 05:42:25,091 GOING BUT HEAR GOOD THINGS. 8484 05:42:25,157 --> 05:42:26,826 THIS IS A PHASED STUDY. 8485 05:42:26,893 --> 05:42:28,060 OUR IDEA WAS TO SEE AFTER ONE 8486 05:42:28,127 --> 05:42:31,831 YEAR IF YOU RANDOMLY ASSIGN A 8487 05:42:31,898 --> 05:42:33,599 6-YEAR-OLD TO MUSIC WOULD THEY 8488 05:42:33,666 --> 05:42:35,801 STICK WITH IT AND IF WE MEET THE 8489 05:42:35,868 --> 05:42:38,037 FEASIBILITY OUTCOMES 8490 05:42:38,104 --> 05:42:39,272 TRANSITIONING TO THE NEXT PHASE 8491 05:42:39,338 --> 05:42:42,842 WHERE WE ADD A LARGER COHORT WE 8492 05:42:42,909 --> 05:42:44,677 MET THE FEASIBILITY OUTCOMES IN 8493 05:42:44,744 --> 05:42:46,879 OUR MUSIC PROGRAM WE HAVE 19 OF 8494 05:42:46,946 --> 05:42:48,247 20 KIDS IN THE PROGRAM. 8495 05:42:48,314 --> 05:42:50,850 AND I THINK THAT'S COMING BACK 8496 05:42:50,917 --> 05:42:52,251 TO POLICY. 8497 05:42:52,318 --> 05:42:53,352 IF YOU PROVIDE GOOD MUSIC 8498 05:42:53,419 --> 05:42:54,253 EDUCATION OR GOOD ART EDUCATION 8499 05:42:54,320 --> 05:42:56,622 AND MAKE IT ACCESSIBLE, EVEN 8500 05:42:56,689 --> 05:43:00,026 PARENTS WHO DON'T HAVE ACCESS TO 8501 05:43:00,092 --> 05:43:01,160 TRANSPORTATION OR AREN'T VERY 8502 05:43:01,227 --> 05:43:02,728 WELL OFF STILL WOULD GO AND 8503 05:43:02,795 --> 05:43:03,129 PARTICIPATE. 8504 05:43:03,195 --> 05:43:06,165 WE ALSO HAVE A GOOD RETENTION IN 8505 05:43:06,232 --> 05:43:07,233 THE CONTROL PROGRAM. 8506 05:43:07,300 --> 05:43:09,235 WE'RE HOPING ONCE WE TRANSITION 8507 05:43:09,302 --> 05:43:10,836 WE ADD HAVE THE NUMBERS TO GIVE 8508 05:43:10,903 --> 05:43:13,839 A FULLY POWERED STUDY TO BE ABLE 8509 05:43:13,906 --> 05:43:14,941 TO LOOK AT SPECIFICALLY 8510 05:43:15,007 --> 05:43:16,208 EXECUTIVE FUNCTION AND DOING 8511 05:43:16,275 --> 05:43:17,944 IMAGING WITH THE STUDIO TO ALLOW 8512 05:43:18,010 --> 05:43:22,648 US TO LOOK AT NEURAL MECHANISMS. 8513 05:43:22,715 --> 05:43:26,786 SO IN SHORT, SUMMARIZING IT 8514 05:43:26,852 --> 05:43:29,522 SEEMS THERE'S SOME ADVANTAGES 8515 05:43:29,588 --> 05:43:33,259 WITH MUSIC TRAINING AND 8516 05:43:33,326 --> 05:43:34,160 EXECUTIVE FUNCTION AND IN 8517 05:43:34,226 --> 05:43:36,228 RELATION TO WHAT I MENTIONED 8518 05:43:36,295 --> 05:43:38,831 AFFECTS GOING AWAY, WE HAVEN'T 8519 05:43:38,898 --> 05:43:41,100 FOLLOWED THE CHILDREN LONG TERM 8520 05:43:41,167 --> 05:43:42,268 MAYBE IF YOU REACHED THE 8521 05:43:42,335 --> 05:43:43,336 MILESTONE EARLIER IN TIME 8522 05:43:43,402 --> 05:43:44,737 THERE'S BENEFITS IN OTHER PARTS 8523 05:43:44,804 --> 05:43:45,604 OF DEVELOPMENT. 8524 05:43:45,671 --> 05:43:48,240 MAYBE THERE'S PROTECTIVE AFFECT 8525 05:43:48,307 --> 05:43:49,375 AGAINST DYSLEXIA AND AUTISM. 8526 05:43:49,442 --> 05:43:51,243 IT'S NEW TO ME. 8527 05:43:51,310 --> 05:43:53,379 WE'RE ANALYZING THIS LARGE BODY 8528 05:43:53,446 --> 05:43:54,847 OF DATA AND WOULD LIKE TO 8529 05:43:54,914 --> 05:43:56,916 DISCUSS IT WITH EVERYONE HERE 8530 05:43:56,983 --> 05:43:58,250 MORE. 8531 05:43:58,317 --> 05:43:59,552 AND OBVIOUSLY MORE CLARIFICATION 8532 05:43:59,618 --> 05:44:01,587 WILL COME FROM THE RCT AND WITH 8533 05:44:01,654 --> 05:44:02,688 THEY WANT TO ACKNOWLEDGE ALL THE 8534 05:44:02,755 --> 05:44:04,790 CHILDREN IN THE PROGRAM, THREE 8535 05:44:04,857 --> 05:44:08,728 OF MY STUDENTS, SARA, PRISCILLA 8536 05:44:08,794 --> 05:44:10,363 AND JEN HELPFUL IN ANALYZING THE 8537 05:44:10,429 --> 05:44:12,231 DATA AND THE FUNDING AGENCIES 8538 05:44:12,298 --> 05:44:12,531 AND SUPPORT. 8539 05:44:12,598 --> 05:44:22,775 THANK YOU. 8540 05:44:27,546 --> 05:44:29,148 >> HI. 8541 05:44:29,215 --> 05:44:31,684 AGAIN, IT'S A GREAT PLEASURE FOR 8542 05:44:31,751 --> 05:44:38,824 NOBODY HERE AND BE PART OF THIS. 8543 05:44:38,891 --> 05:44:42,261 MY NAME'S JOHN IVERSEN FROM 8544 05:44:42,328 --> 05:44:44,296 McMASTER UNIVERSITY AND TALK 8545 05:44:44,363 --> 05:44:46,032 ABOUT CHILD AND ADOLESCENTS. 8546 05:44:46,098 --> 05:44:48,234 BEFORE I START, THE LAST SEVEN 8547 05:44:48,300 --> 05:44:53,406 YEARS HAVE BEEN INCREDIBLE FOR 8548 05:44:53,472 --> 05:44:58,844 SO MANY OF US I WANT TO SAY HOW 8549 05:44:58,911 --> 05:44:59,912 IMPRESSED I AM FOR THE VISION 8550 05:44:59,979 --> 05:45:03,182 PASSION AND EFFECTIVENESS OF OUR 8551 05:45:03,249 --> 05:45:06,285 SOUND HEALTH TEAM ACROSS THE 8552 05:45:06,352 --> 05:45:16,896 AGENCIES SO THANK YOU VERY MUCH. 8553 05:45:26,806 --> 05:45:30,242 HOW CAN WE HELP EACH INDIVIDUAL 8554 05:45:30,309 --> 05:45:32,545 AND USE THE SCIENCE TO SUPPORT 8555 05:45:32,611 --> 05:45:34,847 RATIONALE IDEAS FOR HOW TO BEST 8556 05:45:34,914 --> 05:45:38,284 ACCOMPLISH THIS? 8557 05:45:38,350 --> 05:45:41,620 HOW HAVE I APPROACHED THIS? 8558 05:45:41,687 --> 05:45:42,822 I APPROACH BY ASKING THE 8559 05:45:42,888 --> 05:45:45,057 QUESTION TO DESCRIBE THE 8560 05:45:45,124 --> 05:45:46,826 RELATIONSHIP BETWEEN MUSIC, 8561 05:45:46,892 --> 05:45:47,993 DEVELOP ENGAGEMENT AND BRAIN AND 8562 05:45:48,060 --> 05:45:48,527 BEHAVIORAL DEVELOPMENT IN 8563 05:45:48,594 --> 05:45:52,565 CHILDREN. 8564 05:45:52,631 --> 05:45:57,136 KNOW, ONE APPROACH IS TO 8565 05:45:57,203 --> 05:45:58,437 LEVERAGE EXISTING LARGE SCALE 8566 05:45:58,504 --> 05:45:59,438 LONGITUDINAL STUDIES. 8567 05:45:59,505 --> 05:46:02,374 THE CONCEPT OF NESTING MUSIC 8568 05:46:02,441 --> 05:46:04,210 STUDIES WITHIN EXISTING STUDIES 8569 05:46:04,276 --> 05:46:06,378 AS PROGRESSIVE AS MUSIC AND ARTS 8570 05:46:06,445 --> 05:46:08,714 FUNDING IS, WE DON'T HAVE YET 8571 05:46:08,781 --> 05:46:11,417 THE SORT OF MAGNITUDE OF FUNDING 8572 05:46:11,484 --> 05:46:12,952 TO DO MASSIVE LARGE SCALE 8573 05:46:13,018 --> 05:46:15,020 STUDIES BUT THE STUDIES DO EXIST 8574 05:46:15,087 --> 05:46:19,291 AND IT'S A VERY EXCITING TIME IN 8575 05:46:19,358 --> 05:46:20,159 DEVELOPMENT SCIENCE WHERE THESE 8576 05:46:20,226 --> 05:46:22,828 LARGE SCALE STUDIES ARE REALLY 8577 05:46:22,895 --> 05:46:24,263 TRYING TO DEFINE THE GROWTH 8578 05:46:24,330 --> 05:46:27,733 CURVES OF THE BRAIN. 8579 05:46:27,800 --> 05:46:29,401 I'VE BEEN UNFORTUNATE TO BE ABLE 8580 05:46:29,468 --> 05:46:30,836 TO PIGGYBACK THE WORK ON TWO 8581 05:46:30,903 --> 05:46:33,239 SUCH STUDIES. 8582 05:46:33,305 --> 05:46:37,476 ONE IS PLAIN, 200 INDIVIDUALS 8583 05:46:37,543 --> 05:46:41,981 AND THE ABCD MORE THAN 20 SITES 8584 05:46:42,047 --> 05:46:43,549 STUDYING OVER 11,000 CHILDREN 8585 05:46:43,616 --> 05:46:44,917 FROM 9 TO 19. 8586 05:46:44,984 --> 05:46:46,886 AND WHAT THESE STUDIES HAVE IN 8587 05:46:46,952 --> 05:46:49,655 COMMON THEY ALL HAVE A RICH 8588 05:46:49,722 --> 05:46:50,589 CHARACTERIZATION OF BRAIN, 8589 05:46:50,656 --> 05:46:54,260 BEHAVIOR, GENETICS AND 8590 05:46:54,326 --> 05:46:57,897 LONGITUDINALLY AND OUR ROLE OR 8591 05:46:57,963 --> 05:46:59,598 OUR ADDITION TO THIS HAS BEEN TO 8592 05:46:59,665 --> 05:47:03,836 TRY TO ENRICH THE STUDIES WITH 8593 05:47:03,903 --> 05:47:04,470 AS MUCH AS DETAIL ABOUT MUSIC 8594 05:47:04,537 --> 05:47:05,337 AND ARTS AS POSSIBLE. 8595 05:47:05,404 --> 05:47:07,139 IN THE CASE OF PLAYING I WAS 8596 05:47:07,206 --> 05:47:10,209 INVOLVED IN DESIGNING THAT SO 8597 05:47:10,276 --> 05:47:14,180 WE'RE ABLE TO ADD DETAILED 8598 05:47:14,246 --> 05:47:14,613 MUSICAL ASSESSMENTS. 8599 05:47:14,680 --> 05:47:16,615 IN THE CASE OF ABCD THERE'S 8600 05:47:16,682 --> 05:47:21,954 INFORMATION ABOUT THIS. 8601 05:47:22,021 --> 05:47:24,123 SO AGAIN, THE GROWTH CURVES, 8602 05:47:24,190 --> 05:47:27,159 HARD TO MAKE OUT BUT IT'S A 8603 05:47:27,226 --> 05:47:29,461 CORTICAL AREA ON THE Y AXIS 8604 05:47:29,528 --> 05:47:30,229 VERSUS AGE IN YEARS. 8605 05:47:30,296 --> 05:47:32,965 AND HOPEFULLY YOU CAN MAKE OUT A 8606 05:47:33,032 --> 05:47:34,099 GENTLE CURVE AND RISE AND PEAK 8607 05:47:34,166 --> 05:47:35,868 AND PLATEAU. 8608 05:47:35,935 --> 05:47:38,671 AND NOW THESE STUDIES PLAYING 8609 05:47:38,737 --> 05:47:41,240 HAS CONTRIBUTED THE BLUE LINES 8610 05:47:41,307 --> 05:47:43,442 WHEN SHOWED THE TRAJECTORY OF 8611 05:47:43,509 --> 05:47:46,845 INDIVIDUALS LONG THE GROWTH AND 8612 05:47:46,912 --> 05:47:48,080 PARALLELS THE AVERAGE. 8613 05:47:48,147 --> 05:47:50,816 ABCD IS MUCH LARGER AND SO MUCH 8614 05:47:50,883 --> 05:47:53,319 DATA JUST LOOKS LIKE A BLUE 8615 05:47:53,385 --> 05:47:54,653 SMUDGE WHICH IS INCREDIBLE. 8616 05:47:54,720 --> 05:47:58,757 THAT'S 11,000 TRAJECTORIES OF 8617 05:47:58,824 --> 05:48:00,125 CORTICAL DETAIL AND YOU SEE 8618 05:48:00,192 --> 05:48:04,396 AGAIN IT FOLLOWS THE SAME 8619 05:48:04,463 --> 05:48:09,034 TRAJECTORY AND YET THERE'S SO 8620 05:48:09,101 --> 05:48:10,636 MUCH INDIVIDUAL VARIATION AND 8621 05:48:10,703 --> 05:48:12,238 SEEING HOW IT LEADS EACH 8622 05:48:12,304 --> 05:48:18,043 INDIVIDUAL TO WHO THEY ARE AND 8623 05:48:18,110 --> 05:48:21,180 TO COMPLEMENT THE LARGE 8624 05:48:21,247 --> 05:48:23,282 OBSERVATIONAL AND CORRELATIONAL 8625 05:48:23,349 --> 05:48:24,183 STUDIES WE'RE DOING SMALLER 8626 05:48:24,250 --> 05:48:27,653 SCALE STUDIES I'M KOL COME TO 8627 05:48:27,720 --> 05:48:29,755 AT THE END AND THERE'S A 8628 05:48:29,822 --> 05:48:32,458 QUESTIONNAIRE THAT ASKS ABOUT 8629 05:48:32,524 --> 05:48:32,992 MANY ACTIVITIES AND HAS 8630 05:48:33,058 --> 05:48:34,760 INFORMATION ABOUT THE INTENSITY 8631 05:48:34,827 --> 05:48:38,864 OF THE ACTIVITY AND THE CONTEXT 8632 05:48:38,931 --> 05:48:43,702 IN WHICH IT'S OCCURRING. 8633 05:48:43,769 --> 05:48:46,839 ONE FINDING IS MUSIC IS THE MOST 8634 05:48:46,905 --> 05:48:49,041 HIGHLY ENDORSED ACTIVITY AT 8635 05:48:49,108 --> 05:48:50,843 BASELINE 39% OF CHILDREN 8636 05:48:50,909 --> 05:48:59,118 ENDORSED DOING MUSIC. 8637 05:48:59,184 --> 05:49:01,287 WE LOOK AT ACTIVATION AMONGST 8638 05:49:01,353 --> 05:49:01,687 ACTIVITIES. 8639 05:49:01,754 --> 05:49:03,922 WHAT IS HAPPENING WITH MUSIC? 8640 05:49:03,989 --> 05:49:06,258 WE HAVE A DISTRIBUTION OF 8641 05:49:06,325 --> 05:49:10,162 STARTING AGES. 8642 05:49:10,229 --> 05:49:12,131 THE PLOT SHOWS HOURS PER WEEK 8643 05:49:12,197 --> 05:49:14,033 AND THE FIVE TIME POINTS THAT 8644 05:49:14,099 --> 05:49:15,868 EXIST AND IT'S GRADUALLY 8645 05:49:15,934 --> 05:49:19,571 TRENDING UP AND BECOMING A 8646 05:49:19,638 --> 05:49:21,373 HEAVIER TAIL. 8647 05:49:21,440 --> 05:49:24,043 THIS PLOT IS SHOWING TIME POINT 8648 05:49:24,109 --> 05:49:26,145 BY TIME POINT THE NUMBER OF 8649 05:49:26,211 --> 05:49:26,645 ENDORSEMENTS FOR MUSIC. 8650 05:49:26,712 --> 05:49:28,614 IT'S A COMPLICATED PATTERN. 8651 05:49:28,681 --> 05:49:29,982 EVERYTHING IN RED ARE PEOPLE 8652 05:49:30,049 --> 05:49:31,684 DOING MUSIC AT THE BEGINNING AND 8653 05:49:31,750 --> 05:49:34,153 SEE SOME CONTINUE AND SOME START 8654 05:49:34,219 --> 05:49:36,021 AND STOP AND SO FORTH. 8655 05:49:36,088 --> 05:49:39,992 EVEN THOUGH THIS IS A 8656 05:49:40,059 --> 05:49:40,893 CORRELATIONAL STUDY WITHOUT 8657 05:49:40,959 --> 05:49:41,660 EXPERIMENTAL DESIGN WE HAVE 8658 05:49:41,727 --> 05:49:43,962 INFORMATION ABOUT STARTING AND 8659 05:49:44,029 --> 05:49:46,832 STOPPING OF MUSIC WE CAN USE WE 8660 05:49:46,899 --> 05:49:47,032 HOPE. 8661 05:49:47,099 --> 05:49:47,900 CONTEXT IS INTERESTING. 8662 05:49:47,966 --> 05:49:50,936 MOST OF THESE CHILDREN HAVE DONE 8663 05:49:51,003 --> 05:49:56,208 MUSIC IN SCHOOL. 8664 05:49:56,275 --> 05:49:59,044 WE'VE BEEN ABLE TO ADD QUESTIONS 8665 05:49:59,111 --> 05:50:03,048 ABOUT USING MUSIC WHILE STUDYING 8666 05:50:03,115 --> 05:50:05,184 AND AS THIS PLOT SHOWS LISTENING 8667 05:50:05,250 --> 05:50:08,554 TO MUSIC FOR THE PURPOSE OF 8668 05:50:08,620 --> 05:50:11,957 EMOTIONAL REGULATION. 8669 05:50:12,024 --> 05:50:20,265 IN PINK YOU CAN SEE YEAR 13 OR 8670 05:50:20,332 --> 05:50:26,839 14 AND WE SEE BY AGE 14, 25% OF 8671 05:50:26,905 --> 05:50:32,845 THE PARTICIPANTS USE MUSIC FOR 8672 05:50:32,911 --> 05:50:33,712 EMOTIONAL REGULATION. 8673 05:50:33,779 --> 05:50:35,080 I'LL GO THROUGH THE RESULTS 8674 05:50:35,147 --> 05:50:36,048 QUICKLY. 8675 05:50:36,115 --> 05:50:42,154 THE POINT IS TO ILLUSTRATE THE 8676 05:50:42,221 --> 05:50:45,190 TIMES OF QUESTIONS AND THE 8677 05:50:45,257 --> 05:50:46,358 ULTERIOR MOTIVE IT'S ALL OPEN 8678 05:50:46,425 --> 05:50:46,725 DATA. 8679 05:50:46,792 --> 05:50:47,993 WE'RE TRYING TO ADD INFORMATION 8680 05:50:48,060 --> 05:50:48,961 ABOUT MUSIC. 8681 05:50:49,027 --> 05:50:54,099 YOU CAN ADD WHATEVER QUESTION 8682 05:50:54,166 --> 05:51:04,710 YOU HAVE AND THIS TOP ROW SHOWS 8683 05:51:08,947 --> 05:51:10,616 A MEASURE OF FLUID INTELLIGENCE 8684 05:51:10,682 --> 05:51:11,750 AND THE SECOND ROW IS 8685 05:51:11,817 --> 05:51:12,317 CRYSTALLIZED MORE FACTS AND 8686 05:51:12,384 --> 05:51:16,822 KNOWLEDGE. 8687 05:51:16,889 --> 05:51:18,824 THE COLUMNS ARE FOUR ACTIVITIES, 8688 05:51:18,891 --> 05:51:23,495 ARTS, MUSIC, SOCCER AND SPORTS. 8689 05:51:23,562 --> 05:51:32,137 WE'RE LOOKING AT ENGAGEMENT AND 8690 05:51:32,204 --> 05:51:37,609 EACH BLOCK SHOWS THE ADDITIONAL 8691 05:51:37,676 --> 05:51:42,414 INFORMATION THAT WAS ADDED TO 8692 05:51:42,481 --> 05:51:43,982 INTELLIGENCE BY PARTICIPATION IN 8693 05:51:44,049 --> 05:51:44,349 THE ACTIVITIES. 8694 05:51:44,416 --> 05:51:46,752 THE RED COLOR INDICATES A 8695 05:51:46,819 --> 05:51:51,824 POSITIVE ASSOCIATION BETWEEN ALL 8696 05:51:51,890 --> 05:51:52,825 THE ACTIVITIES BETWEEN ARTS AND 8697 05:51:52,891 --> 05:51:53,425 MUSIC. 8698 05:51:53,492 --> 05:51:56,428 IT'S IMPORTANT TO LOOK AT THE 8699 05:51:56,495 --> 05:51:58,831 STARS WHICH INDICATE THE 8700 05:51:58,897 --> 05:52:03,469 SIGNIFICANCE OF THESE. 8701 05:52:03,535 --> 05:52:05,137 MUSIC AND ARTS ARE ASSOCIATED 8702 05:52:05,204 --> 05:52:06,271 WITH FLUID AND CRYSTALLIZED 8703 05:52:06,338 --> 05:52:08,373 INTELLIGENCE. 8704 05:52:08,440 --> 05:52:11,376 ANOTHER MEASURE IS TO LOOK AT 8705 05:52:11,443 --> 05:52:14,480 CORTICAL EXPANSION. 8706 05:52:14,546 --> 05:52:18,851 THE CORTEX IS A MAP AND DON'T 8707 05:52:18,917 --> 05:52:22,287 ALL GROW AT THE SAME RATE AND 8708 05:52:22,354 --> 05:52:25,023 CORRELATE THAT WITH MUSIC 8709 05:52:25,090 --> 05:52:30,162 EXPERIENCE AND THESE HOT-COLORED 8710 05:52:30,229 --> 05:52:34,132 AREAS ARE THOSE IN WHICH THE 8711 05:52:34,199 --> 05:52:35,601 CORTEX EXPANDS AS A MUSIC 8712 05:52:35,667 --> 05:52:37,035 EXPERIENCE AND COMPARE THEM TO 8713 05:52:37,102 --> 05:52:38,837 FLUID AND CRYSTALLIZED 8714 05:52:38,904 --> 05:52:40,305 INTELLIGENCE AND SEE 8715 05:52:40,372 --> 05:52:41,673 SIMILARITIES CRYSTALLIZED. 8716 05:52:41,740 --> 05:52:46,545 WE CAN LOOK AT USING DIFFUSION 8717 05:52:46,612 --> 05:52:50,382 IMAGING AND MEASURE OF THE 8718 05:52:50,449 --> 05:52:51,016 MICROSTRUCTURAL DEVELOPMENT OF 8719 05:52:51,083 --> 05:52:52,251 THE DIFFERENT REGIONS OF THE 8720 05:52:52,317 --> 05:52:56,555 CORTEX. 8721 05:52:56,622 --> 05:53:00,259 THE ONE AREA WE SHOWED IN A 8722 05:53:00,325 --> 05:53:02,427 MEASURE WITH THE DENSITY OF 8723 05:53:02,494 --> 05:53:06,265 TISSUE AND CELLS WITHIN THAT 8724 05:53:06,331 --> 05:53:11,103 AREA IS DORSAL LATERAL 8725 05:53:11,169 --> 05:53:16,842 PREFRONTAL CORTEX WITH WORKING 8726 05:53:16,909 --> 05:53:26,518 MEMORY AND IT'S SIGNIFICANT. 8727 05:53:26,585 --> 05:53:29,054 AND IN THE STUDY WHERE WE HAVE 8728 05:53:29,121 --> 05:53:30,689 MORE DETAILED MUSICAL PHENOTYPES 8729 05:53:30,756 --> 05:53:32,724 WE CAN LOOK AT VARIOUS TEST OF 8730 05:53:32,791 --> 05:53:33,792 RHYTHM. 8731 05:53:33,859 --> 05:53:35,360 RHYTHM PRODUCTION AND PERCEPTION 8732 05:53:35,427 --> 05:53:38,030 AND LOOKING AT THOSE AS THE 8733 05:53:38,096 --> 05:53:38,931 VOLUME OF THE MOTOR AND 8734 05:53:38,997 --> 05:53:40,832 PRE-MOTOR CORTEX. 8735 05:53:40,899 --> 05:53:42,267 AND WE FIND A POSITIVE 8736 05:53:42,334 --> 05:53:43,135 CORRELATION THERE. 8737 05:53:43,201 --> 05:53:44,903 NOT JUST FOR RHYTHM AND 8738 05:53:44,970 --> 05:53:45,704 PRODUCTION AS YOU MIGHT EXPECT 8739 05:53:45,771 --> 05:53:49,474 BUT RHYTHM PERCEPTION. 8740 05:53:49,541 --> 05:53:51,977 THIS RELATES TO THEORIES I AND 8741 05:53:52,044 --> 05:53:53,912 OTHERS HAVE IN FACT WE MENTIONED 8742 05:53:53,979 --> 05:53:56,748 THIS MORNING ABOUT MIMI ABOUT 8743 05:53:56,815 --> 05:53:59,585 THE ROLE OF THE MOTOR SYSTEM IN 8744 05:53:59,651 --> 05:54:01,720 SHAPING AUDITORY PERCEPTION AND 8745 05:54:01,787 --> 05:54:02,020 PRODUCTION. 8746 05:54:02,087 --> 05:54:05,857 FINALLY, WE HAVE THIS ENRIMMENT 8747 05:54:05,924 --> 05:54:09,795 PROGRAM FUNDED BY THE NEA -- 8748 05:54:09,861 --> 05:54:17,035 ENRICHMENT FOR TK CHILDREN. 8749 05:54:17,102 --> 05:54:18,837 THIS IS A SLIGHTLY DIFFERENT 8750 05:54:18,904 --> 05:54:20,672 TAKE ON WHAT MUSIC CAN US. 8751 05:54:20,739 --> 05:54:22,741 WE FOUND AN EXPECTED CORRELATION 8752 05:54:22,808 --> 05:54:26,211 BETWEEN PERFORMANCE ON VARIOUS 8753 05:54:26,278 --> 05:54:30,282 ACADEMIC TASKS AND NUMBER SENSE 8754 05:54:30,349 --> 05:54:34,353 AND VOCABULARY AND WITH SES. 8755 05:54:34,419 --> 05:54:36,588 FOR ONE OF OUR MUSIC MEASURES 8756 05:54:36,655 --> 05:54:38,190 WHICH IS A PITCH ACCURACY 8757 05:54:38,256 --> 05:54:40,659 MEASURE OF THE SINGING 8758 05:54:40,726 --> 05:54:41,727 INTERVENTION, WE FOUND NO 8759 05:54:41,793 --> 05:54:42,394 CORRELATION WHICH IS 8760 05:54:42,461 --> 05:54:42,694 INTERESTING. 8761 05:54:42,761 --> 05:54:45,664 WE TEND TO THINK OF HOW DOES 8762 05:54:45,731 --> 05:54:47,332 MUSIC CORRELATE WITH ACADEMIC 8763 05:54:47,399 --> 05:54:47,599 ABILITIES. 8764 05:54:47,666 --> 05:54:49,968 THIS MAY BE SUCH A LOW LEVEL 8765 05:54:50,035 --> 05:54:51,003 THING THAT IT DOESN'T. 8766 05:54:51,069 --> 05:54:53,138 BUT THE IMPORTANT THING AND THE 8767 05:54:53,205 --> 05:54:56,108 EXCITING THING FOR OUR EDUCATOR 8768 05:54:56,174 --> 05:54:58,844 PARTNERS IS THAT THIS GIVES US 8769 05:54:58,910 --> 05:54:59,911 ANOTHER DIMENSION OF SKILL 8770 05:54:59,978 --> 05:55:02,514 THAT'S NOT ASSESSED GENERALLY IN 8771 05:55:02,581 --> 05:55:02,981 SCHOOL. 8772 05:55:03,048 --> 05:55:05,183 SO TO THEM IT'S VERY EXCITING 8773 05:55:05,250 --> 05:55:07,352 THAT THEY CAN LOOK AT KIDS WHO 8774 05:55:07,419 --> 05:55:09,388 MAY BE STRUGGLING IN SCHOOL AND 8775 05:55:09,454 --> 05:55:11,556 SEE THEY'RE A GREAT SINGER AND 8776 05:55:11,623 --> 05:55:13,592 THIS IS SOMETHING WE CAN 8777 05:55:13,659 --> 05:55:15,227 ENCOURAGE AND NURTURE. 8778 05:55:15,293 --> 05:55:18,263 AGAIN, JUST A PLUG FOR THIS IDEA 8779 05:55:18,330 --> 05:55:24,136 OF NESTING AND INVITATION TO 8780 05:55:24,202 --> 05:55:26,738 LOOK AT THE DATA. 8781 05:55:26,805 --> 05:55:30,308 MEANT ON THE IMPORTANCE OF THE 8782 05:55:30,375 --> 05:55:31,643 EXPERIMENTAL STUDIES. 8783 05:55:31,710 --> 05:55:33,111 FINALLY SOMETHING WE STILL WANT 8784 05:55:33,178 --> 05:55:35,881 TO DO IS INCREASE THE AMOUNT OF 8785 05:55:35,947 --> 05:55:36,748 INFORMATION ABOUT MUSIC 8786 05:55:36,815 --> 05:55:38,083 PHENOTYPES WITHIN ABCD. 8787 05:55:38,150 --> 05:55:41,620 THAT WAS THE FOURTH AIM OF MY 8788 05:55:41,687 --> 05:55:44,156 RO1 AND WE'VE DEVELOPED THESE 8789 05:55:44,222 --> 05:55:48,093 TESTS SO THE NEXT STEP IS TRY TO 8790 05:55:48,160 --> 05:55:50,295 INTEGRATE THEM AS AN INTEGRAL 8791 05:55:50,362 --> 05:55:50,829 POINT OF ABCD. 8792 05:55:50,896 --> 05:56:01,073 THANK YOU. 8793 05:56:12,884 --> 05:56:17,689 >> GOOD AFTERNOON. 8794 05:56:17,756 --> 05:56:20,926 I'M JENNIFER BUGEOS AND I LOOK 8795 05:56:20,992 --> 05:56:23,061 AT MUSIC EDUCATION TRAINING AND 8796 05:56:23,128 --> 05:56:33,672 PSYCHOSOCIAL OUTCOMES IN AGING. 8797 05:56:36,174 --> 05:56:38,844 WE LOOK AT COGNITIVE SENSORY AND 8798 05:56:38,910 --> 05:56:42,314 OLDER PROCESSES AND I'LL 8799 05:56:42,380 --> 05:56:43,281 HIGHLIGHT THE CURRENT RESEARCH 8800 05:56:43,348 --> 05:56:46,118 AS WELL AS THE INGREDIENTS OF 8801 05:56:46,184 --> 05:56:47,753 THE SUCCESSFUL COGNITIVE 8802 05:56:47,819 --> 05:56:49,955 TRAINING INVENTION THROUGH MUSIC 8803 05:56:50,021 --> 05:56:50,822 EDUCATION PROGRAMS AND ALSO THE 8804 05:56:50,889 --> 05:56:53,158 RESULTS OF A RANDOMIZED CONTROL 8805 05:56:53,225 --> 05:56:58,730 TRIAL CONDUCTED IN OUR LAB. 8806 05:56:58,797 --> 05:57:02,167 MUSIC EDUCATION REFERS TO THE 8807 05:57:02,234 --> 05:57:07,539 ACT OR PROCESS OF ACQUIRING 8808 05:57:07,606 --> 05:57:09,141 KNOWLEDGE AND SKILL GAINED 8809 05:57:09,207 --> 05:57:10,742 THROUGH EDUCATIONAL PROCESSES 8810 05:57:10,809 --> 05:57:12,511 TRANSFER MORE BROADLY. 8811 05:57:12,577 --> 05:57:13,912 THIS DIFFERS FROM MUSIC THERAPY 8812 05:57:13,979 --> 05:57:16,281 AND THE GOALS TO TARGET THE USE 8813 05:57:16,348 --> 05:57:18,183 OF MUSIC TO TREAT SYMPTOMS OF A 8814 05:57:18,250 --> 05:57:20,986 DISEASE OR DISORDER AND OFTEN 8815 05:57:21,052 --> 05:57:26,725 TAILORED TO INDIVIDUAL GOALS AN 8816 05:57:26,792 --> 05:57:32,931 AND MUSIC EDUCATION INTERVENTION 8817 05:57:32,998 --> 05:57:34,232 MAY BE SCALABLE AND USED FOR 8818 05:57:34,299 --> 05:57:36,101 HEALTHY AND CLINICAL POPULATIONS 8819 05:57:36,168 --> 05:57:37,569 AS WELL. 8820 05:57:37,636 --> 05:57:39,271 I'LL TALK ABOUT THE STATE OF THE 8821 05:57:39,337 --> 05:57:41,606 ART WE'VE BEEN DISCUSSING IN 8822 05:57:41,673 --> 05:57:43,742 MATERIALS OF MUSIC TRAINING 8823 05:57:43,809 --> 05:57:45,844 INTERVENTIONS THE INGREDIENTS OF 8824 05:57:45,911 --> 05:57:48,113 AN EFFECTIVE INTERVENTION AND 8825 05:57:48,180 --> 05:57:48,713 RANDOMIZED TRIAL AND FUTURE 8826 05:57:48,780 --> 05:57:50,749 RESEARCH WE'RE CONDUCTING. 8827 05:57:50,816 --> 05:57:52,217 ALL RIGHT. 8828 05:57:52,284 --> 05:57:53,952 SO WHAT WE DO KNOW ONE KEY 8829 05:57:54,019 --> 05:57:56,555 THREAT TO COGNITION AS WE AGE 8830 05:57:56,621 --> 05:57:58,023 ARE DEFICITS IN EXECUTIVE 8831 05:57:58,089 --> 05:57:58,290 FUNCTIONS. 8832 05:57:58,356 --> 05:57:59,825 OF COURSE THAT'S BEEN REFERRED 8833 05:57:59,891 --> 05:58:05,363 TO BY A COUPLE UP HERE AS WELL 8834 05:58:05,430 --> 05:58:08,066 AND BROAD RANGE OF WORKING 8835 05:58:08,133 --> 05:58:12,304 MEMORY AND PROCESSING SPEED AND 8836 05:58:12,370 --> 05:58:18,276 EXECUTIVE FUNCTION CONTRIBUTE TO 8837 05:58:18,343 --> 05:58:28,887 COGNITIVE RESERVE AND BRAIN IS 8838 05:58:30,856 --> 05:58:33,625 FORCED TO DEVELOP NEUROCOGNITIVE 8839 05:58:33,692 --> 05:58:36,294 STRATEGIES THOSE REQUIRED BY 8840 05:58:36,361 --> 05:58:37,863 COMPLEX INSTRUMENTAL 8841 05:58:37,929 --> 05:58:38,163 PERFORMANCE. 8842 05:58:38,230 --> 05:58:40,665 THROUGH SCAFFOLDING TASKS BECOME 8843 05:58:40,732 --> 05:58:42,300 MORE ACHIEVABLE. 8844 05:58:42,367 --> 05:58:47,839 ON THE SLIDE YOU MIGHT SEE DATA 8845 05:58:47,906 --> 05:58:50,408 SUGGEST DELAYED ONSET OF 8846 05:58:50,475 --> 05:58:54,279 COGNITIVE DECLINE BY BUILDING 8847 05:58:54,346 --> 05:59:03,588 COGNITIVE RESERVE. 8848 05:59:03,655 --> 05:59:05,891 WE DON'T HAVE A COMPREHENSIVE 8849 05:59:05,957 --> 05:59:08,727 THEORY AS OF YET WHAT MAKES AN 8850 05:59:08,793 --> 05:59:10,629 EFFECTIVE AND SUSTAINABLE 8851 05:59:10,695 --> 05:59:11,496 COGNITIVE INTERVENTION AND 8852 05:59:11,563 --> 05:59:13,031 HERE'S KEY INGREDIENTS FROM THE 8853 05:59:13,098 --> 05:59:14,833 LITERATURE THAT SEEM TO BE 8854 05:59:14,900 --> 05:59:16,434 EMPIRICALLY IMPORTANT FOR 8855 05:59:16,501 --> 05:59:18,970 BUILDING APPROPRIATE COGNITIVE 8856 05:59:19,037 --> 05:59:19,337 INTERVENTIONS. 8857 05:59:19,404 --> 05:59:20,639 ONE IS HAVE TASK NOVELTY. 8858 05:59:20,705 --> 05:59:21,373 THERE'S BEEN RESEARCH SUGGESTING 8859 05:59:21,439 --> 05:59:24,276 THE OLDER ADULTS ENGAGED IN 8860 05:59:24,342 --> 05:59:26,544 NOVEL TASKS TEND TO HAVE HIGHER 8861 05:59:26,611 --> 05:59:29,314 LEVELS OR HIGHER VOLUMES OF 8862 05:59:29,381 --> 05:59:33,251 CORTICAL AND SUBCORTICAL VOLUMES 8863 05:59:33,318 --> 05:59:36,288 AND WE KNOW BY MANUAL 8864 05:59:36,354 --> 05:59:38,556 COORDINATION DEVELOPING BIMANUAL 8865 05:59:38,623 --> 05:59:41,192 COORDINATION THROUGH MUSIC 8866 05:59:41,259 --> 05:59:44,529 SKILLS CAN TRANSFER TO COGNITIVE 8867 05:59:44,596 --> 05:59:45,230 PERFORMANCE AND THE DIFFICULTY 8868 05:59:45,297 --> 05:59:48,300 OF AN INTERVENTION IS VERY 8869 05:59:48,366 --> 05:59:49,668 IMPORTANT AS WELL AS HAVING A 8870 05:59:49,734 --> 05:59:50,835 PRACTICE ELEMENT. 8871 05:59:50,902 --> 05:59:53,872 THIS IS ESSENTIAL IN TERMS OF 8872 05:59:53,939 --> 05:59:55,240 BUILDING COGNITIVE PERFORMANCE 8873 05:59:55,307 --> 05:59:57,142 OVER TIME AND ALSO IN 8874 05:59:57,208 --> 06:00:00,578 ESTABLISHING SELF-EFFICACY WHICH 8875 06:00:00,645 --> 06:00:01,846 CONTRIBUTES TO COGNITIVE 8876 06:00:01,913 --> 06:00:02,147 PERFORMANCE. 8877 06:00:02,213 --> 06:00:03,615 ANOTHER ASPECT IS THE SOCIAL 8878 06:00:03,682 --> 06:00:10,288 ELEMENT OF PARTICIPATING IN A 8879 06:00:10,355 --> 06:00:17,829 MUSIC EDUCATION PROGRAM AND IT 8880 06:00:17,896 --> 06:00:19,664 CONTRIBUTES TO SELF EFFICACY AND 8881 06:00:19,731 --> 06:00:21,633 THE IMPORTANCE OF HAVING AN 8882 06:00:21,700 --> 06:00:22,834 ECOLOGICALLY VALID TRAINING 8883 06:00:22,901 --> 06:00:26,671 PROGRAM IS SUPER IMPORTANT. 8884 06:00:26,738 --> 06:00:29,307 OLDER ADULTS WANT TO PLAY HAPPY 8885 06:00:29,374 --> 06:00:31,643 BIRTHDAY OUT OF A STUDY FOR 8886 06:00:31,710 --> 06:00:33,511 THEIR GRANDCHILDREN OR PLAY AT 8887 06:00:33,578 --> 06:00:34,713 THE CHURCH WHEN FINISHED WITH 8888 06:00:34,779 --> 06:00:36,247 THE STUDY AND THE OPPORTUNITY OF 8889 06:00:36,314 --> 06:00:37,949 LIFE LONG MUSIC IS A SUPER 8890 06:00:38,016 --> 06:00:38,984 IMPORTANT SKILL THAT CAN LAST A 8891 06:00:39,050 --> 06:00:46,825 LIFE TIME. 8892 06:00:46,891 --> 06:00:50,829 THERE WAS A TRAINING STUDIO 8893 06:00:50,895 --> 06:00:52,864 SHOWING DIFFERENCES IN COGNITION 8894 06:00:52,931 --> 06:00:56,701 IN HEALTHY OLDER ADULTS AND WE 8895 06:00:56,768 --> 06:00:59,070 LOOKED AT PIANO TRAINING ADULTS 8896 06:00:59,137 --> 06:01:01,840 AND COMPARED THEM TO A 8897 06:01:01,906 --> 06:01:03,441 NO-TREATMENT GROUP AND MEASURED 8898 06:01:03,508 --> 06:01:04,542 SUSTAINABILITY AFTER A 8899 06:01:04,609 --> 06:01:05,477 THREE-MONTH FOLLOW-UP TIME 8900 06:01:05,543 --> 06:01:05,677 POINT. 8901 06:01:05,744 --> 06:01:10,048 AND WE FOUND SIGNIFICANTLY 8902 06:01:10,115 --> 06:01:13,118 ENHANCED PERFORMANCE ON DIGIT 8903 06:01:13,184 --> 06:01:14,853 CODING WITH VISUAL SPATIAL 8904 06:01:14,919 --> 06:01:16,654 PROCESSING AND DECREASED TIME TO 8905 06:01:16,721 --> 06:01:19,591 A MEASURE OF PROCESSING SPEED 8906 06:01:19,657 --> 06:01:24,763 EVEN AFTER WE SUB STRIKTRACTED E 8907 06:01:24,829 --> 06:01:25,363 COMPONENT. 8908 06:01:25,430 --> 06:01:27,565 WE SEE THE DIFFERENCE OVER THREE 8909 06:01:27,632 --> 06:01:29,701 TIME POINTS AS COMPARED TO OUR 8910 06:01:29,768 --> 06:01:30,068 CONTROLS. 8911 06:01:30,135 --> 06:01:31,436 AND WE ALSO LEARNED SOMETHING 8912 06:01:31,503 --> 06:01:33,238 IMPORTANT FROM THE STUDY, OLDER 8913 06:01:33,304 --> 06:01:35,774 ADULTS PREFER TO HAVE A 8914 06:01:35,840 --> 06:01:38,710 GROUP-MUSIC INTERVENTION OVER AN 8915 06:01:38,777 --> 06:01:39,444 INDIVIDUAL INTERVENTION. 8916 06:01:39,511 --> 06:01:42,347 SO WE SAW THE BENEFITS FROM 8917 06:01:42,414 --> 06:01:46,151 ADDING MUSIC OR HAVING A MUSIC 8918 06:01:46,217 --> 06:01:46,818 SUSTAINABILITY INTERVENTION THAT 8919 06:01:46,885 --> 06:01:47,852 SHOWED SUSTAINABILITY. 8920 06:01:47,919 --> 06:01:50,822 AND WE WANTED TO MAKE MORE 8921 06:01:50,889 --> 06:01:52,757 RIGOROUS 8922 06:01:52,824 --> 06:01:53,558 INTERVENTIONS-GROUP-BASED 8923 06:01:53,625 --> 06:01:59,330 INTERVENTIONS FOR OLDER ADULTS. 8924 06:01:59,397 --> 06:02:05,103 THIS LED TO INTENSE-BASED 8925 06:02:05,170 --> 06:02:06,004 STUDIES WITH TRAINING THREE 8926 06:02:06,071 --> 06:02:08,540 HOURS PER DAY AND OTHER STUDIES 8927 06:02:08,606 --> 06:02:10,575 FOUR TO SIX MONTHS LONG. 8928 06:02:10,642 --> 06:02:11,876 I'LL DESCRIBE A FEW REPRESENTED 8929 06:02:11,943 --> 06:02:12,610 UP HERE. 8930 06:02:12,677 --> 06:02:16,181 WE FOUND HEALTHY OLDER ADULTS 8931 06:02:16,247 --> 06:02:20,985 RANDOMLY ASSIGNED TO FOUR MONTHS 8932 06:02:21,052 --> 06:02:22,821 OF GROUP PIANO TRAINING 8933 06:02:22,887 --> 06:02:26,825 DEMONSTRATED INCREASED SIN 8934 06:02:26,891 --> 06:02:30,295 CRONIZATION OF THE HANDS AND -- 8935 06:02:30,361 --> 06:02:40,872 SIN SYNCHRONIZATION OF THE 8936 06:02:42,740 --> 06:02:44,476 HANDS AND AFTER A TWO-WEEK 8937 06:02:44,542 --> 06:02:46,811 CONTROL PERIOD AND OF INTENSE 8938 06:02:46,878 --> 06:02:57,155 PIANO TRAINING. 8939 06:03:13,171 --> 06:03:18,776 AND WE SEE IMPAIRING OCCURRING 8940 06:03:18,843 --> 06:03:21,346 AND I NOTICED FROM NOT ONLY MY 8941 06:03:21,412 --> 06:03:22,647 RESEARCH BUT FROM OTHER RESEARCH 8942 06:03:22,714 --> 06:03:25,884 WE HAD LIMITATIONS TO ADDRESS. 8943 06:03:25,950 --> 06:03:28,786 AND SOME INCLUDED LACK OF 8944 06:03:28,853 --> 06:03:30,221 MEASURES IN THE TRAIN DOMAIN. 8945 06:03:30,288 --> 06:03:33,091 LACK OF MEASURES IN THE MUSICAL 8946 06:03:33,158 --> 06:03:33,324 DOMAIN. 8947 06:03:33,391 --> 06:03:35,160 WITHOUT THESE HOW DO WE KNOW 8948 06:03:35,226 --> 06:03:35,693 MUSIC EDUCATION ACTUALLY 8949 06:03:35,760 --> 06:03:37,128 OCCURRED? 8950 06:03:37,195 --> 06:03:38,563 AND WHAT DEGREE OF SKILL OR 8951 06:03:38,630 --> 06:03:39,931 KNOWLEDGE GAINS ARE REPRESENTED 8952 06:03:39,998 --> 06:03:41,332 IN THE PROGRAM? 8953 06:03:41,399 --> 06:03:42,834 WE SHOULD BE ABLE TO DESCRIBE 8954 06:03:42,901 --> 06:03:44,469 THE PROGRAMS WE'RE TALKING ABOUT 8955 06:03:44,536 --> 06:03:45,837 IN DETAIL. 8956 06:03:45,904 --> 06:03:48,873 SO THESE CAN BE REPLICATED. 8957 06:03:48,940 --> 06:03:51,843 RESEARCH LACKS THE APPROPRIATE 8958 06:03:51,910 --> 06:03:53,178 TRAINING TO GENERALIZE COGNITION 8959 06:03:53,244 --> 06:03:54,879 IN SEVERAL STUDIES AND NECESSARY 8960 06:03:54,946 --> 06:03:58,416 TO UNDERSTAND THE DOSAGE AFFECTS 8961 06:03:58,483 --> 06:03:58,883 IN AGING SPECIFICALLY. 8962 06:03:58,950 --> 06:04:04,122 THERE'S A NEED FOR STANDARDIZED 8963 06:04:04,189 --> 06:04:07,492 OR MANUALIZED MUSIC CURRICULUMS 8964 06:04:07,559 --> 06:04:09,661 USED ACROSS SITES. 8965 06:04:09,727 --> 06:04:12,297 AND THERE'S A NEED TO HAVE 8966 06:04:12,363 --> 06:04:20,371 STUDIES THAT INCLUDE ACTIVE AND 8967 06:04:20,438 --> 06:04:21,973 PASSIVE CONTROL GROUPS AND A 8968 06:04:22,040 --> 06:04:22,840 NEED FOR COGNITIVE MEASURES TO 8969 06:04:22,907 --> 06:04:29,814 LOOK AT ACROSS STUDIES. 8970 06:04:29,881 --> 06:04:31,883 THE PEOPLE WITH THE 8971 06:04:31,950 --> 06:04:33,651 INTERVENTIONS SHOULD BE DESIGN 8972 06:04:33,718 --> 06:04:34,819 AND IMPLEMENTED BY LICENSED 8973 06:04:34,886 --> 06:04:36,821 MUSIC EDUCATORS WHO HAVE 8974 06:04:36,888 --> 06:04:40,558 KNOWLEDGE ABOUT MUSIC PEDAGOGUES 8975 06:04:40,625 --> 06:04:42,293 AND APPROACHES TO TEACHING MUSIC 8976 06:04:42,360 --> 06:04:42,727 EDUCATION. 8977 06:04:42,794 --> 06:04:46,831 IT'S NOT A ONE-SIZE-FITS-ALL. 8978 06:04:46,898 --> 06:04:48,299 EVERYTHING INVOLVED IN THE 8979 06:04:48,366 --> 06:04:49,834 TRAINING INTERVENTION MATTERS. 8980 06:04:49,901 --> 06:04:51,369 IT MATTERS WHETHER THERE'S 8981 06:04:51,436 --> 06:04:52,937 CREATIVITY OR NOT CREATIVITY 8982 06:04:53,004 --> 06:04:53,905 INVOLVED. 8983 06:04:53,972 --> 06:04:58,843 SOME OF OUR NEURAL OSCILLATORY 8984 06:04:58,910 --> 06:05:06,284 FINDINGS SHOW THAT. 8985 06:05:06,351 --> 06:05:08,086 I'LL GIVE AN OVERVIEW QUICKLY OF 8986 06:05:08,152 --> 06:05:10,588 A RANDOMIZED CONTROL TRIAL 8987 06:05:10,655 --> 06:05:12,290 CONDUCTED IN OUR LAB AND I WANT 8988 06:05:12,357 --> 06:05:14,392 TO THANK THE NATIONAL ENDOWMENT 8989 06:05:14,459 --> 06:05:15,860 FOR THE ARTS FOR FUNDING THE 8990 06:05:15,927 --> 06:05:16,060 STUDY. 8991 06:05:16,127 --> 06:05:17,629 THE AIM WAS TO EVALUATE THE 8992 06:05:17,695 --> 06:05:18,830 IMPACT OF GROUP PIANO TRAINING 8993 06:05:18,896 --> 06:05:21,366 ON EXECUTIVE FUNCTIONS AND 8994 06:05:21,432 --> 06:05:23,668 PSYCHOSOCIAL OUTCOMES IN OLDER 8995 06:05:23,735 --> 06:05:26,170 ADULTS 60 TO 80. 8996 06:05:26,237 --> 06:05:30,408 THEY WERE TESTED WITH THREE HOUR 8997 06:05:30,475 --> 06:05:32,277 BATTERY OF NEURAL COGNITIVE 8998 06:05:32,343 --> 06:05:33,778 MEASURES AND EXECUTIVE FUNCTION 8999 06:05:33,845 --> 06:05:34,879 MEASURES AS WELL AS WE ALSO 9000 06:05:34,946 --> 06:05:38,449 MEASURE MOTOR MEASURES AND 9001 06:05:38,516 --> 06:05:39,784 SALIVARY CORTISOL, ETCETERA. 9002 06:05:39,851 --> 06:05:42,287 THEY WERE REPEATED AFTER 16 9003 06:05:42,353 --> 06:05:43,421 WEEKS OF TRAINING. 9004 06:05:43,488 --> 06:05:46,591 TRAINING WAS TWICE A WEEK FOR 90 9005 06:05:46,658 --> 06:05:51,562 MINUTES AND THEY WERE RANDOMLY 9006 06:05:51,629 --> 06:05:54,532 ASSIGNED TO EITHER THE COMPUTER 9007 06:05:54,599 --> 06:05:58,836 BRAIN TRAINING PROGRAM OR THE 9008 06:05:58,903 --> 06:06:01,272 NO-TREATMENT GROUP. 9009 06:06:01,339 --> 06:06:02,307 THEY COMPLETED A BATTERY OF 9010 06:06:02,373 --> 06:06:03,675 MEASURES AND THERE WAS A 9011 06:06:03,741 --> 06:06:05,310 THREE-MONTH DELAY AND WE LOOKED 9012 06:06:05,376 --> 06:06:06,277 AT SUSTAINABILITY AFTER THREE 9013 06:06:06,344 --> 06:06:07,745 MONTHS. 9014 06:06:07,812 --> 06:06:09,414 THESE WERE ALL HEALTHY OLDER 9015 06:06:09,480 --> 06:06:10,815 ADULTS WITH LESS THAN THREE 9016 06:06:10,882 --> 06:06:14,552 YEARS OF FORMAL MUSIC TRAINING, 9017 06:06:14,619 --> 06:06:18,356 NOT READING MUSIC OR ENROLLED IN 9018 06:06:18,423 --> 06:06:21,292 ANY MUSIC PROGRAMS. 9019 06:06:21,359 --> 06:06:24,295 WITH RECRUITED 34 OLDER ADULTS 9020 06:06:24,362 --> 06:06:28,032 AND OF THOSE 155 WERE ELIGIBLE 9021 06:06:28,099 --> 06:06:28,800 AND STRINGENT CRITERIA FOR 9022 06:06:28,866 --> 06:06:30,835 ENTRANCE IN OUR STUDIES AND WE 9023 06:06:30,902 --> 06:06:33,705 MEASURED THEIR ABILITY TO READ 9024 06:06:33,771 --> 06:06:34,439 MUSIC. 9025 06:06:34,505 --> 06:06:36,374 PEOPLE CAN'T JUST -- PEOPLE TRY 9026 06:06:36,441 --> 06:06:39,410 TO SELF-REPORT TO ENTER IN THE 9027 06:06:39,477 --> 06:06:39,610 STUDY. 9028 06:06:39,677 --> 06:06:44,449 SOME WERE OVER QUALIFIED. 9029 06:06:44,515 --> 06:06:46,818 155 WERE ELIGIBLE AND SOME WERE 9030 06:06:46,884 --> 06:06:50,121 ASSIGNED TO BRAIN TRAINING AND 9031 06:06:50,188 --> 06:06:50,888 THERE WERE TRANSPORTATION ISSUES 9032 06:06:50,955 --> 06:06:55,360 OR FAMILY ILLNESS OR NEED TO 9033 06:06:55,426 --> 06:06:58,496 FIND CHILDCARE WAS A FACTOR IN 9034 06:06:58,563 --> 06:06:58,763 ATTRITION. 9035 06:06:58,830 --> 06:07:00,298 WHILE THIS MAY NOT SEEM 9036 06:07:00,365 --> 06:07:01,466 INTERESTING WE ADD AN INCREASE 9037 06:07:01,532 --> 06:07:08,373 IN READING PERFORMANCE FOR THE 9038 06:07:08,439 --> 06:07:09,607 PIANO TRAINING GROUP AND WHAT 9039 06:07:09,674 --> 06:07:10,875 SKILLS ARE WE TEACHING AND HOW 9040 06:07:10,942 --> 06:07:13,478 ARE WE MEASURING THOSE SKILLS? 9041 06:07:13,544 --> 06:07:15,413 WE DO SEE A DIFFERENCE WIN THE 9042 06:07:15,480 --> 06:07:18,282 PIANO TRAINED GROUP AS COMPARED 9043 06:07:18,349 --> 06:07:22,620 TO THE OTHER TWO GROUPS. 9044 06:07:22,687 --> 06:07:24,989 WE ALSO SEE A SIGNIFICANT 9045 06:07:25,056 --> 06:07:26,090 INCREASE IN VERBAL SKILLS IN 9046 06:07:26,157 --> 06:07:30,294 VERBAL INFLUENCE THE ABILITY TO 9047 06:07:30,361 --> 06:07:34,699 GENERATE WORDS AND THOSE TESTS 9048 06:07:34,766 --> 06:07:35,333 STANDARDIZED TEST USED TO 9049 06:07:35,400 --> 06:07:36,300 MEASURE VERBAL INFLUENCE ARE 9050 06:07:36,367 --> 06:07:37,702 TIME AND THERE'S A PROCESSING 9051 06:07:37,769 --> 06:07:39,737 ELEMENT TO THOSE AS WELL AND WE 9052 06:07:39,804 --> 06:07:41,105 SEE A SIGNIFICANT DIFFERENCE IN 9053 06:07:41,172 --> 06:07:42,807 VERBAL MEMORY PERFORMANCE. 9054 06:07:42,874 --> 06:07:45,209 THE ABILITY TO RETAIN WORDS OVER 9055 06:07:45,276 --> 06:07:46,978 A PERIOD OF TIME. 9056 06:07:47,044 --> 06:07:48,446 WE THINK IT'S PROMISING. 9057 06:07:48,513 --> 06:07:52,183 THESE ARE PROMISING RESULTS AND 9058 06:07:52,250 --> 06:07:54,285 ONE OF THE MAIN AREAS WE SEE 9059 06:07:54,352 --> 06:07:56,287 THESE INCREASES PARTICULARLY IN 9060 06:07:56,354 --> 06:07:57,288 VERBAL INFLUENCE I SHOULD SAY IS 9061 06:07:57,355 --> 06:07:59,924 THE ABILITY TO SWITCH BETWEEN 9062 06:07:59,991 --> 06:08:00,224 CATEGORIES. 9063 06:08:00,291 --> 06:08:02,126 WHICH IF YOU THINK ABOUT WHAT WE 9064 06:08:02,193 --> 06:08:04,762 DO WHEN WE'RE LEARNING A MUSICAL 9065 06:08:04,829 --> 06:08:06,130 INSTRUMENT WE'RE SWITCHING 9066 06:08:06,197 --> 06:08:07,565 BETWEEN SO MANY DOMAINS AND 9067 06:08:07,632 --> 06:08:10,835 LEARNING TO READ MUSIC AND USE 9068 06:08:10,902 --> 06:08:13,137 OUR FINGERS AND MOTOR CONTROL 9069 06:08:13,204 --> 06:08:13,905 AND AUDITORY SYSTEMS ALL SYSTEMS 9070 06:08:13,971 --> 06:08:15,173 ARE BEING INTEGRATED. 9071 06:08:15,239 --> 06:08:16,407 ANOTHER INTERESTING FINDING I'D 9072 06:08:16,474 --> 06:08:18,209 LIKE TO POINT OUT IS THE 9073 06:08:18,276 --> 06:08:20,411 INDIVIDUALS WHO DEMONSTRATED THE 9074 06:08:20,478 --> 06:08:22,547 MOST GAINS IN THE PROGRAM IN 9075 06:08:22,613 --> 06:08:24,282 COGNITIVE PERFORMANCE ARE THOSE 9076 06:08:24,348 --> 06:08:27,919 HAD THE LOWEST SCORES ON MOCA AT 9077 06:08:27,985 --> 06:08:30,288 BASELINE ON THE MONTREAL 9078 06:08:30,354 --> 06:08:33,825 COGNITIVE ASSESSMENT. 9079 06:08:33,891 --> 06:08:36,227 THIS SUGGESTS THOSE WITH LOWER 9080 06:08:36,294 --> 06:08:37,328 COGNITIVE BENEFIT WILL BENEFIT 9081 06:08:37,395 --> 06:08:39,197 AND THE WAY WE CONDUCT GROUP 9082 06:08:39,263 --> 06:08:41,699 PIANO TRAINING IS NOT YOUR 9083 06:08:41,766 --> 06:08:42,400 TYPICAL PIANO LESSON. 9084 06:08:42,467 --> 06:08:50,541 WE CONDUCT IT AS AN ENSEMBLE AND 9085 06:08:50,608 --> 06:08:56,481 IT'S MANUALIZED AND IT'S 9086 06:08:56,547 --> 06:08:59,083 IMPORTANT BUT NOT LIMITED TO THE 9087 06:08:59,150 --> 06:09:00,251 MUSIC TRAINING OR EDUCATION 9088 06:09:00,318 --> 06:09:00,985 LITERATURE OR RESEARCH. 9089 06:09:01,052 --> 06:09:06,290 IT'S SOMETHING WE SEE A LOT IN 9090 06:09:06,357 --> 06:09:08,759 THE GERONTOLOGICAL LITERATURE 9091 06:09:08,826 --> 06:09:12,296 AND PEOPLE SCORING LOWER AT THE 9092 06:09:12,363 --> 06:09:14,031 LOWER HAVE THE MOST GAINS WITH 9093 06:09:14,098 --> 06:09:15,566 THE INTERVENTION. 9094 06:09:15,633 --> 06:09:18,803 WE LEARNED PIANO INSTRUCTION MAY 9095 06:09:18,870 --> 06:09:22,807 ENHANCE SKILL IN OLDER ADULTS 9096 06:09:22,874 --> 06:09:24,308 PARTICULARLY GENERATING WORDS 9097 06:09:24,375 --> 06:09:27,044 AND MEMORY RETAIN WORDS. 9098 06:09:27,111 --> 06:09:32,149 THERE'S BENEFITS BOTH TO MUSICAL 9099 06:09:32,216 --> 06:09:34,252 SELF-EFFICACY AND GENERAL 9100 06:09:34,318 --> 06:09:35,453 SELF-EFFICACY AFTER GROUP PIANO 9101 06:09:35,520 --> 06:09:38,856 TRAINING BUT WE FOUND THIS IN 9102 06:09:38,923 --> 06:09:41,259 OTHER STUDIES WITH SINGING 9103 06:09:41,325 --> 06:09:42,593 INSTRUCTION AND DIFFERENT THAN 9104 06:09:42,660 --> 06:09:44,795 GETTING TOGETHER AND SINGING IN 9105 06:09:44,862 --> 06:09:47,532 A CHOIR BUT LEARNING HOW TO SING 9106 06:09:47,598 --> 06:09:50,167 AND RESULTS REMAIN PROMINENT IN 9107 06:09:50,234 --> 06:09:52,570 THE FACE OF COMPUTER BRAIN 9108 06:09:52,637 --> 06:09:54,305 TRAINING WE USED POSIT SCIENCE 9109 06:09:54,372 --> 06:10:00,278 AS OUR PARTICULAR CONTROL 9110 06:10:00,344 --> 06:10:03,748 CONDITION WE SEE ACTIVE CONTROL 9111 06:10:03,814 --> 06:10:06,183 CONDITIONS FOR INTENSE STUDIES 9112 06:10:06,250 --> 06:10:07,952 AND THOSE 4 TO 6 MONTHS WITH THE 9113 06:10:08,019 --> 06:10:10,187 DOSAGE OF TWICE A WEEK FOR 90 9114 06:10:10,254 --> 06:10:12,290 MINUTES AND MEASURING DOSAGE ON 9115 06:10:12,356 --> 06:10:14,825 A MORE REGULAR LEVEL WITH A 9116 06:10:14,892 --> 06:10:17,094 SERIES OF STUDIES UNDERWAY IN 9117 06:10:17,161 --> 06:10:18,863 THE COGNITION AND COORDINATION 9118 06:10:18,930 --> 06:10:20,965 ACROSS THE LIFE SPAN LAB CALLED 9119 06:10:21,032 --> 06:10:22,867 THE CALM LAB SPONSORED BY THE 9120 06:10:22,934 --> 06:10:27,338 NATIONAL ENDOWMENT FOR THE ARTS 9121 06:10:27,405 --> 06:10:30,207 IN WHICH WE'RE EVALUATING 9122 06:10:30,274 --> 06:10:32,610 COORDINATION AND GROSS MOTOR AND 9123 06:10:32,677 --> 06:10:36,614 FINE MOTOR AND OTHER LEARNING 9124 06:10:36,681 --> 06:10:37,048 TASKS. 9125 06:10:37,114 --> 06:10:39,784 TO DETERMINE DOSAGE FOR POSITIVE 9126 06:10:39,850 --> 06:10:40,918 PSYCHOSOCIAL OUTCOMES AND MOTOR 9127 06:10:40,985 --> 06:10:41,185 OUTCOMES. 9128 06:10:41,252 --> 06:10:46,824 I'D LIKE TO THANK THE NATIONAL 9129 06:10:46,891 --> 06:10:51,329 ENDOWMENT FOR THE ARTS FOR THEIR 9130 06:10:51,395 --> 06:10:52,897 SUPPORT AND THE PARTICIPANTS WHO 9131 06:10:52,964 --> 06:10:55,299 CONTRIBUTED TO THE SUCCESS OF 9132 06:10:55,366 --> 06:10:56,434 THE PROJECTS AND THANK YOU FOR 9133 06:10:56,500 --> 06:10:56,801 YOUR ATTENTION. 9134 06:10:56,867 --> 06:10:58,302 I APPRECIATE IT AND I KNOW I'M 9135 06:10:58,369 --> 06:11:00,371 THE LAST SPEAKER OF THE DAY. 9136 06:11:00,438 --> 06:11:04,742 I APPRECIATE YOUR TIME. 9137 06:11:04,809 --> 06:11:14,986 THANK YOU. 9138 06:11:17,521 --> 06:11:19,123 >> HI, EVERYONE. 9139 06:11:19,190 --> 06:11:22,159 I'M HONORED TO BE HERE AND ON 9140 06:11:22,226 --> 06:11:23,961 BEHALF OF US IN SESSION 3 HOW 9141 06:11:24,028 --> 06:11:26,831 IMPORTANT IT IS AND HOW EXCITED 9142 06:11:26,897 --> 06:11:29,767 WE ARE THAT EDUCATION IS BEING 9143 06:11:29,834 --> 06:11:30,401 CONSIDERED PART OF THE HEALTH 9144 06:11:30,468 --> 06:11:32,003 ISSUES BEING DISCUSSED TODAY. 9145 06:11:32,069 --> 06:11:42,279 I WANT TO INTRODUCE OUR 9146 06:11:42,346 --> 06:11:43,648 PANELISTS. 9147 06:11:43,714 --> 06:11:47,752 INDRAY VISKONTAS AND THALIA 9148 06:11:47,818 --> 06:11:50,821 GOLDSTEIN CO-DIRECTOR OF AN NEA 9149 06:11:50,888 --> 06:11:54,825 RESEARCH LAB AT GEORGE MASON 9150 06:11:54,892 --> 06:11:58,562 UNIVERSITY AND MAUD HICKEY AFROM 9151 06:11:58,629 --> 06:12:00,431 NORTHWESTERN UNIVERSITY. 9152 06:12:00,498 --> 06:12:05,136 TARRELL DAVIS FROM THE SETTLE 9153 06:12:05,202 --> 06:12:09,340 MANY MUCHG SCHOOL -- MUSIC 9154 06:12:09,407 --> 06:12:13,911 SCHOOL AND VICTOR MINCES AT THE 9155 06:12:13,978 --> 06:12:17,448 UNIVERSITY OF CALIFORNIA SAN 9156 06:12:17,515 --> 06:12:19,950 DIEGO AND PART OF A MUSIC 9157 06:12:20,017 --> 06:12:26,023 EDUCATION PROGRAM SPONSOR THE 9158 06:12:26,090 --> 06:12:28,826 NATIONAL MUSIC EDUCATION AND KEN 9159 06:12:28,893 --> 06:12:31,362 IN ELPUS AND DIRECTOR OF AN NEA 9160 06:12:31,429 --> 06:12:34,832 RESEARCH LAB. 9161 06:12:34,899 --> 06:12:45,076 THANK YOU. 9162 06:12:55,419 --> 06:12:58,823 >> WITH THE WORLD'S SONG BOOK AT 9163 06:12:58,889 --> 06:13:03,194 OUR FINGER TIPS AND THE CATALOG 9164 06:13:03,260 --> 06:13:04,995 IN THIS LITTLE DEVICE WHY SHOULD 9165 06:13:05,062 --> 06:13:15,506 WE TOLERATE THE SQUEAKY SOUNDS 9166 06:13:15,573 --> 06:13:20,277 OR USE TAXPAYER DOLLARS IN 9167 06:13:20,344 --> 06:13:21,345 PUBLIC SCHOOLS. 9168 06:13:21,412 --> 06:13:24,315 THE BENEFIT IS IN THE PROCESS 9169 06:13:24,381 --> 06:13:26,450 NOT IN THE FINAL PRODUCT. 9170 06:13:26,517 --> 06:13:29,887 MUSIC EDUCATION GIVES KIDS THE 9171 06:13:29,954 --> 06:13:31,756 SKILLS TO GET THINGS DONE. 9172 06:13:31,822 --> 06:13:33,524 THE THINGS THEY'LL USE WHATEVER 9173 06:13:33,591 --> 06:13:36,560 IT IS THEY CHOOSE TO DO, GRIT, 9174 06:13:36,627 --> 06:13:38,863 DISCIPLINE, GROWTH MIND SET, 9175 06:13:38,929 --> 06:13:42,767 EXECUTIVE FUNCTIONING. 9176 06:13:42,833 --> 06:13:47,271 OKAY, YOU CAN GET THOSE FROM 9177 06:13:47,338 --> 06:13:50,841 SPORTS OR DIFFERENT LANGUAGE. 9178 06:13:50,908 --> 06:13:54,178 IT HELPS BABIES COMMUNICATE. 9179 06:13:54,245 --> 06:13:56,881 IT HELPS PRESCHOOLERS COOPERATE. 9180 06:13:56,947 --> 06:14:01,652 LITTLE KIDS RECOGNIZE EMOTIONS. 9181 06:14:01,719 --> 06:14:04,922 TEACHER REPORT MORE SOCIAL 9182 06:14:04,989 --> 06:14:06,857 COHESION IN THE CLASSROOM AND 9183 06:14:06,924 --> 06:14:12,329 MORE POSITIVE ATTITUDES. 9184 06:14:12,396 --> 06:14:17,468 KIDS WHO DO THE LEAST IN 9185 06:14:17,535 --> 06:14:20,104 ACADEMICS HAVE THE BIGGEST 9186 06:14:20,171 --> 06:14:20,571 IMPROVEMENTS. 9187 06:14:20,638 --> 06:14:23,941 TEENS SHOW LIST RISKY BEHAVIORS 9188 06:14:24,008 --> 06:14:25,810 LIKE ALCOHOL USE COMPARED TO 9189 06:14:25,876 --> 06:14:27,111 PEERS LARGELY INVOLVED IN 9190 06:14:27,178 --> 06:14:27,344 SPORTS. 9191 06:14:27,411 --> 06:14:29,113 THEY'RE ALSO MORE LIKELY TO SAY 9192 06:14:29,180 --> 06:14:29,613 THEY LIKE SCHOOL. 9193 06:14:29,680 --> 06:14:32,049 THEY'RE MORE LIKELY TO HAVE A 9194 06:14:32,116 --> 06:14:36,654 HIGHER GPA IN THE 12th GRADE AND 9195 06:14:36,720 --> 06:14:38,622 ATTEND COLLEGE FULL TIME. 9196 06:14:38,689 --> 06:14:40,724 HIGH SCHOOLERS SAYING BEING IN A 9197 06:14:40,791 --> 06:14:44,094 MUSIC ENSEMBLE HELPS GAIN 9198 06:14:44,161 --> 06:14:44,929 CONFIDENCE BECAUSE EVERY PLAYER 9199 06:14:44,995 --> 06:14:46,864 IN THE BAND MATTERS. 9200 06:14:46,931 --> 06:14:50,534 YOU MATTER. 9201 06:14:50,601 --> 06:15:01,011 A KEEPS KIDS IN SCHOOL 9202 06:15:02,379 --> 06:15:04,081 DECREASES DELINQUENCY AND IF YOU 9203 06:15:04,148 --> 06:15:06,183 INCLUDE HIGHER EARNINGS AND 9204 06:15:06,250 --> 06:15:09,587 LOWER MEDICAID SOFT THE NET 9205 06:15:09,653 --> 06:15:11,355 SOCIETAL GAIN IS ABOUT HALF A 9206 06:15:11,422 --> 06:15:14,692 MILLION DOLLARS FOR TURNING A 9207 06:15:14,758 --> 06:15:15,526 HIGH SCHOOL GRADUATE TO A 9208 06:15:15,593 --> 06:15:22,066 SCHOLAR AND IF ONE HIGH SCHOOL 9209 06:15:22,132 --> 06:15:24,335 STUDENT GRADUATE THE NET GAIN IS 9210 06:15:24,401 --> 06:15:26,770 10 YEARS OF A MUSIC TEACHER'S 9211 06:15:26,837 --> 06:15:27,004 SALARY. 9212 06:15:27,071 --> 06:15:30,341 IF IT'S ABOUT MONEY, MUSIC SAY 9213 06:15:30,407 --> 06:15:32,209 SOUND INVESTMENT. 9214 06:15:32,276 --> 06:15:36,547 -- IS A SOUND INVESTMENT. 9215 06:15:36,614 --> 06:15:38,482 >> THANK YOU, THAT'S AN 9216 06:15:38,549 --> 06:15:42,353 INCREDIBLY HARD ACT TO FOLLOW 9217 06:15:42,419 --> 06:15:43,487 AND AN APPRECIATE IT SO MUCH. 9218 06:15:43,554 --> 06:15:46,523 TODAY I WANT TO REMIND US OF 9219 06:15:46,590 --> 06:15:48,359 SOME CRITICAL COMPONENTS WHEN 9220 06:15:48,425 --> 06:15:50,861 WE'RE TALKING ABOUT MUSIC AND 9221 06:15:50,928 --> 06:15:51,996 EDUCATION OR THE ARTS AND 9222 06:15:52,062 --> 06:15:53,664 EDUCATION THAT ARE OFTEN LEFT TO 9223 06:15:53,731 --> 06:15:57,701 THE SIDE AS WE THINK ABOUT 9224 06:15:57,768 --> 06:16:01,572 STATISTICAL RIGOR, EXPERIMENTAL 9225 06:16:01,639 --> 06:16:03,040 RIGOR AND LAB-BASED RESEARCH. 9226 06:16:03,107 --> 06:16:05,309 THE FIRST THING I WANT TO REMIND 9227 06:16:05,376 --> 06:16:06,844 US OF IS THAT MUSIC DOES NOT 9228 06:16:06,911 --> 06:16:09,213 JUST HAPPEN IN THE LAB. 9229 06:16:09,280 --> 06:16:10,848 MUSIC PARTICULARLY MUSIC FOR 9230 06:16:10,915 --> 06:16:14,752 CHILDREN HAPPENS IN A VARIETY OF 9231 06:16:14,818 --> 06:16:15,085 CONTEXTS. 9232 06:16:15,152 --> 06:16:16,720 THIS DOESN'T JUST INCLUDE 9233 06:16:16,787 --> 06:16:18,122 SCHOOLS EITHER WHERE CHILDREN 9234 06:16:18,188 --> 06:16:19,690 ARE GETTING FORMAL EDUCATION IN 9235 06:16:19,757 --> 06:16:22,092 MUSIC AS PART OF THEIR LARGER 9236 06:16:22,159 --> 06:16:22,860 ACADEMIC PROGRAM. 9237 06:16:22,927 --> 06:16:28,299 IT ALSO INCLUDES MUSIC IN SUCH 9238 06:16:28,365 --> 06:16:29,833 PLACES AS SUCH AS WHEN THEY'RE 9239 06:16:29,900 --> 06:16:31,502 WALKING THROUGH THE SHOPPING 9240 06:16:31,568 --> 06:16:32,836 MALL AND HEARING MUSIC IN 9241 06:16:32,903 --> 06:16:35,306 DIFFERENT STORES AND DIFFERENT 9242 06:16:35,372 --> 06:16:37,174 STORES HAVE DIFFERENT MUSICAL 9243 06:16:37,241 --> 06:16:38,676 ENVIRONMENTS MEANT TO INTRODUCE 9244 06:16:38,742 --> 06:16:40,577 THEM TO THE MOOD OR ATTITUDE 9245 06:16:40,644 --> 06:16:42,680 THEY'RE SUPPOSED TO HAVE WHILE 9246 06:16:42,746 --> 06:16:43,013 SHOPPING. 9247 06:16:43,080 --> 06:16:44,815 THIS ALSO INCLUDES MUSIC AT HOME 9248 06:16:44,882 --> 06:16:48,352 AND THE VARIETY OF WAYS IN WHICH 9249 06:16:48,419 --> 06:16:50,721 CULTURES AND THE MICROSYSTEM OF 9250 06:16:50,788 --> 06:16:51,755 THE FAMILY ENVIRONMENT INFLUENCE 9251 06:16:51,822 --> 06:16:53,190 THE KIND OF LEARNING THAT 9252 06:16:53,257 --> 06:16:54,858 PARENTS LISTEN TO. 9253 06:16:54,925 --> 06:16:57,461 I HAVE MANY MEMORIES OF THE 9254 06:16:57,528 --> 06:17:00,331 MUSIC MY MOTHER PLAYED IN THE 9255 06:17:00,397 --> 06:17:05,135 VOLVO SEDAN AS WE DROVE AROUND 9256 06:17:05,202 --> 06:17:05,903 SUBURBAN MARYLAND. 9257 06:17:05,970 --> 06:17:09,707 TODAY WE HEARD A LOT ABOUT 9258 06:17:09,773 --> 06:17:11,008 BRAIN-BASED CHANGES AS WELL AS 9259 06:17:11,075 --> 06:17:12,076 COGNITIVE-BASED CHANGES. 9260 06:17:12,142 --> 06:17:13,744 BUT WHEN WE TALK MUSIC AND 9261 06:17:13,811 --> 06:17:15,245 EDUCATION FOR YOUNG CHILDREN, 9262 06:17:15,312 --> 06:17:16,947 IT'S THE SOCIAL AND EMOTIONAL 9263 06:17:17,014 --> 06:17:19,350 SKILLS THAT LAY THE GROUND WORK 9264 06:17:19,416 --> 06:17:20,184 FOR LATER COGNITIVE GAINS. 9265 06:17:20,250 --> 06:17:22,853 IF A CHILD DOESN'T HAVE A CLOSE 9266 06:17:22,920 --> 06:17:23,988 EMOTIONAL RELATIONSHIP WITH 9267 06:17:24,054 --> 06:17:26,090 THEIR TEACHER, THEY'RE UNLIKELY 9268 06:17:26,156 --> 06:17:28,425 TO LEARN ANYTHING FROM THAT 9269 06:17:28,492 --> 06:17:28,659 TEACHER. 9270 06:17:28,726 --> 06:17:32,396 IF A CHILD FEELS FEAR OR 9271 06:17:32,463 --> 06:17:34,331 DISCOMFORT WHEN THEY'RE IN AN 9272 06:17:34,398 --> 06:17:35,733 AFTER-CARE ENVIRONMENT OR HOME 9273 06:17:35,799 --> 06:17:38,002 ENVIRONMENT, THEY'RE UNLIKELY TO 9274 06:17:38,068 --> 06:17:38,669 BE ABLE TO MAKE MANY COGNITIVE 9275 06:17:38,736 --> 06:17:43,607 GAINS WHILE IN THAT ENVIRONMENT. 9276 06:17:43,674 --> 06:17:46,010 WE NEED THE SOCIAL AND EMOTIONAL 9277 06:17:46,076 --> 06:17:47,511 BONDING BEFORE WE CAN THINK WITH 9278 06:17:47,578 --> 06:17:49,480 THE COGNITIVE AND ACADEMIC 9279 06:17:49,546 --> 06:17:49,680 GAINS. 9280 06:17:49,747 --> 06:17:51,315 AND THE LAST COMPONENT I WANT TO 9281 06:17:51,382 --> 06:17:54,351 POINT OUT IS THE COMPONENT OF 9282 06:17:54,418 --> 06:17:55,853 THE BODY. 9283 06:17:55,919 --> 06:17:58,722 OFTEN WHEN WE TALK ABOUT MUSIC 9284 06:17:58,789 --> 06:18:00,190 THERE'S AN ELEMENT OF PASSIVE 9285 06:18:00,257 --> 06:18:01,325 SITTING IN THE AUDIENCE AND 9286 06:18:01,392 --> 06:18:02,960 LISTENING AND ENJOYING THAT KIND 9287 06:18:03,027 --> 06:18:06,230 OF MUSIC ABUT FOR CHILDREN THE 9288 06:18:06,296 --> 06:18:07,865 BOD -- BUT FOR CHILDREN THE BODY 9289 06:18:07,931 --> 06:18:10,467 AND MUSIC ARE INTERTWINED. 9290 06:18:10,534 --> 06:18:11,935 YOU CAN'T SEPARATE THEM. 9291 06:18:12,002 --> 06:18:13,904 THEY'LL MOVE TO MUSIC EVEN WHEN 9292 06:18:13,971 --> 06:18:15,806 YOU TELL THEM TO BE STILL AND 9293 06:18:15,873 --> 06:18:17,241 THREATEN THEM WITH NO DESSERT 9294 06:18:17,307 --> 06:18:20,644 AND WHY WE DON'T TAKE THEM TO 9295 06:18:20,711 --> 06:18:23,113 OPERAS BECAUSE THEY'RE TOO BUSY 9296 06:18:23,180 --> 06:18:25,315 BOUNCING AROUND IN THEIR SEATS. 9297 06:18:25,382 --> 06:18:28,052 IN MY GROUP WE'VE SHOWN THE 9298 06:18:28,118 --> 06:18:29,353 CONNECTION BETWEEN EMBODIMENT IN 9299 06:18:29,420 --> 06:18:31,522 AND THROUGH MUSIC AND A VARIETY 9300 06:18:31,588 --> 06:18:34,091 OF KINDS OF SOCIAL AND EMOTIONAL 9301 06:18:34,158 --> 06:18:34,358 OUTCOMES. 9302 06:18:34,425 --> 06:18:36,627 I THOUGHT I'D BE ABLE TO SEE MY 9303 06:18:36,693 --> 06:18:40,431 SLIDES SO I APOLOGIZE FOR MY 9304 06:18:40,497 --> 06:18:42,733 CONSTANT MOVEMENT OF TURNING 9305 06:18:42,800 --> 06:18:43,634 AROUND. 9306 06:18:43,700 --> 06:18:45,636 FOR EXAMPLE, TOGETHER WITH 9307 06:18:45,702 --> 06:18:48,338 INJURY, OUR LABS ARE WORKING ON 9308 06:18:48,405 --> 06:18:50,841 AN OPERA ON PLAYGROUND STUDY 9309 06:18:50,908 --> 06:18:53,243 LOOKING AT ELEMENTARY SCHOOL 9310 06:18:53,310 --> 06:18:54,845 KIDS USING THEIR PLAY GROUNDS AS 9311 06:18:54,912 --> 06:18:56,647 THE VAST SETTINGS FOR WHICH 9312 06:18:56,713 --> 06:18:58,148 OPERAS CAN TAKE PLACE AND 9313 06:18:58,215 --> 06:18:59,817 LOOKING AT HOW THAT MIGHT 9314 06:18:59,883 --> 06:19:01,685 IMPROVE THEIR EMPATHY AND 9315 06:19:01,752 --> 06:19:03,020 UNDERSTANDING OF EACH OTHER IN 9316 06:19:03,087 --> 06:19:12,863 THAT GROUP. 9317 06:19:12,930 --> 06:19:15,399 WE'VE SHOWN FOR MINORITIZED 9318 06:19:15,466 --> 06:19:17,901 STUDENTS ENGAGING IN THE 9319 06:19:17,968 --> 06:19:20,003 MARCHING BAND AND ARTS 9320 06:19:20,070 --> 06:19:21,805 INCREASING THEIR SELF EFFICACY 9321 06:19:21,872 --> 06:19:22,973 FOR THEIR BELONGING AND THE 9322 06:19:23,040 --> 06:19:24,341 SCHOOL AT LARGE. 9323 06:19:24,408 --> 06:19:30,347 WE'VE DONE STUDIES ON MUSICAL 9324 06:19:30,414 --> 06:19:32,449 THEATRE AND HOW THAT CAN 9325 06:19:32,516 --> 06:19:36,353 INCREASE 21st CENTURY SKILLS 9326 06:19:36,420 --> 06:19:37,721 SUCH AS CREATIVITY, 9327 06:19:37,788 --> 06:19:38,889 COLLABORATION AND EMPATHY AND 9328 06:19:38,956 --> 06:19:39,790 UNDERSTANDING FOR THE CHARACTERS 9329 06:19:39,857 --> 06:19:43,794 ON STAGE AND HOW IT RELATES BACK 9330 06:19:43,861 --> 06:19:45,829 TO THEIR OWN LIVES. 9331 06:19:45,896 --> 06:19:49,399 FINALLY DANCE AND RHYTHMIC 9332 06:19:49,466 --> 06:19:50,367 MOVEMENT AND HOW IT CAN HELP 9333 06:19:50,434 --> 06:19:53,337 WITH THE ABILITY TO READ THE 9334 06:19:53,403 --> 06:19:54,838 MOTIONS OF SOMEBODY ELSE WHICH 9335 06:19:54,905 --> 06:19:58,842 COME THROUGH BOTH THE FACE AND 9336 06:19:58,909 --> 06:19:59,109 THE BODY. 9337 06:19:59,176 --> 06:20:00,777 TAKEN TOGETHER I URGE ALL THE 9338 06:20:00,844 --> 06:20:02,045 SCIENTISTS AND MUSICIANS IN THE 9339 06:20:02,112 --> 06:20:05,816 ROOM TO KEEP IN MIND THE VARIETY 9340 06:20:05,883 --> 06:20:07,050 OF CONTEXTS THAT MUSIC EDUCATION 9341 06:20:07,117 --> 06:20:09,319 TAKES PLACE IN, THE VARIETY OF 9342 06:20:09,386 --> 06:20:12,356 SOCIAL AND EMOTIONAL SKILLS 9343 06:20:12,422 --> 06:20:15,225 NECESSARY TO SET THE GROUND WORK 9344 06:20:15,292 --> 06:20:16,760 FOR COGNITIVE GAINS AND DON'T 9345 06:20:16,827 --> 06:20:17,127 FORGET THE BODY. 9346 06:20:17,194 --> 06:20:27,371 THANK YOU. 9347 06:20:28,005 --> 06:20:30,140 >> HI, THANK YOU. 9348 06:20:30,207 --> 06:20:32,276 I'LL DESCRIBE FIRST A RESEARCH 9349 06:20:32,342 --> 06:20:34,845 STUDY THAT I COMPLETED WHICH 9350 06:20:34,912 --> 06:20:37,714 INVOLVED MUSIC MAKING WITH YOUTH 9351 06:20:37,781 --> 06:20:39,349 IN A DETENTION CENTER AND FOLLOW 9352 06:20:39,416 --> 06:20:41,652 WITH THE RESULTS OF A LITERATURE 9353 06:20:41,718 --> 06:20:43,787 REVIEW THAT POINTS TO THE POWER 9354 06:20:43,854 --> 06:20:48,292 OF MUSIC FOR DETAINED YOUTH. 9355 06:20:48,358 --> 06:20:50,561 I COMPLETED THIS LONG-TERM 9356 06:20:50,627 --> 06:20:52,062 QUALITATIVE STUDY AT NORTHERN 9357 06:20:52,129 --> 06:20:53,730 WESTERN UNIVERSITY AT THE CENTER 9358 06:20:53,797 --> 06:20:57,134 WITH CIVIC ENGAGEMENT AND THE 9359 06:20:57,201 --> 06:20:57,868 CHICAGO TRUST. 9360 06:20:57,935 --> 06:21:00,337 I EXAMINE THE EFFECT OF A MUSIC 9361 06:21:00,404 --> 06:21:04,841 PROGRAM ON INCARCERATED YOUTH 12 9362 06:21:04,908 --> 06:21:07,744 TO 18 DETAINED AT A LARGE 9363 06:21:07,811 --> 06:21:09,379 JUVENILE DETENTION CENTER IN 9364 06:21:09,446 --> 06:21:10,280 CHICAGO. 9365 06:21:10,347 --> 06:21:12,115 THE THEORETICAL FRAME WAS BASED 9366 06:21:12,182 --> 06:21:14,384 ON POSITIVE YOUTH DEVELOPMENT 9367 06:21:14,451 --> 06:21:18,522 WHICH POSITS POSITIVE APPROACHES 9368 06:21:18,589 --> 06:21:20,757 ARE MORE EFFECTIVE FOR IMPROVING 9369 06:21:20,824 --> 06:21:22,859 MENTAL HEALTH AND STOPPING 9370 06:21:22,926 --> 06:21:33,270 NEGATIVE BEHAVIOR AND REDUCING 9371 06:21:33,337 --> 06:21:38,208 RECIDIVISM AND PARTICIPANTS 9372 06:21:38,275 --> 06:21:43,046 COMPOSED THEIR OWN RAP MUSIC AND 9373 06:21:43,113 --> 06:21:44,915 COLLECTED COMMENTS AND ANALYZED 9374 06:21:44,982 --> 06:21:47,584 THE RESULTS USING QUALITATIVE 9375 06:21:47,651 --> 06:21:48,785 CONTENT ANALYSIS. 9376 06:21:48,852 --> 06:21:50,887 YOU SEE THE SEVERAL THEMES THAT 9377 06:21:50,954 --> 06:21:52,956 EMERGED FROM THE ANALYSIS. 9378 06:21:53,023 --> 06:21:54,858 THE MOST PREVALENT BEING 9379 06:21:54,925 --> 06:21:56,059 POSITIVE FEELINGS AND COMPETENCE 9380 06:21:56,126 --> 06:21:58,862 WHICH COMES FROM THE POSITIVE 9381 06:21:58,929 --> 06:22:04,434 YOUTH DEVELOPMENT FRAMEWORK. 9382 06:22:04,501 --> 06:22:06,036 THE SECOND SIDE SHOWED RESULTS 9383 06:22:06,103 --> 06:22:08,772 AS THE COMPREHENSIVE LIT REVIEW 9384 06:22:08,839 --> 06:22:10,841 EXAMINING THE RESEARCH ON 9385 06:22:10,907 --> 06:22:15,846 POSITIVE AFFECTS OF MUSIC IN 9386 06:22:15,912 --> 06:22:16,613 JUVENILE DETENTION SETTINGS. 9387 06:22:16,680 --> 06:22:19,316 I LOOKED AT REVIEWS THAT SERVED 9388 06:22:19,383 --> 06:22:22,853 YOUTH AND IN WHICH MUSIC WAS THE 9389 06:22:22,919 --> 06:22:24,888 MAIN ART FORM. 9390 06:22:24,955 --> 06:22:26,556 I GROUPED THEM IN THE CATEGORIES 9391 06:22:26,623 --> 06:22:28,091 WITH THE SIZE RELATED TO THE 9392 06:22:28,158 --> 06:22:31,161 NUMBER OF FINDINGS. 9393 06:22:31,228 --> 06:22:34,731 AND AS YOU CAN SEE THE 9394 06:22:34,798 --> 06:22:36,333 PSYCHOLOGICAL BENEFITS OF MUSIC 9395 06:22:36,400 --> 06:22:41,138 WITH INCARCERATED YOUTH WAS THE 9396 06:22:41,204 --> 06:22:44,408 MOST PREVALENT AND MUSIC CAN BE 9397 06:22:44,474 --> 06:22:46,376 ONE OF THE MOST POWERFUL WAYS. 9398 06:22:46,443 --> 06:22:48,345 HOWEVER THERE'S MORE WORK 9399 06:22:48,412 --> 06:22:50,280 SPECIFICALLY RIGOROUS RESEARCH 9400 06:22:50,347 --> 06:22:54,351 TO BE DONE WITH THIS YOUNG AND 9401 06:22:54,418 --> 06:22:57,220 OFTEN INVISIBLE GROUP 9402 06:22:57,287 --> 06:22:57,888 INCARCERATED ACROSS THE UNITED 9403 06:22:57,954 --> 06:22:59,122 STATES AND THE WORK NEEDS TO BE 9404 06:22:59,189 --> 06:23:02,893 DONE TO FOLLOW THROUGH WITH 9405 06:23:02,959 --> 06:23:06,363 BETTER AND MORE POSITIVE 9406 06:23:06,430 --> 06:23:06,630 OUTCOMES. 9407 06:23:06,697 --> 06:23:16,340 THANK YOU. 9408 06:23:16,406 --> 06:23:17,874 >> THANK YOU ALL FOR YOUR HARD 9409 06:23:17,941 --> 06:23:18,075 WORK. 9410 06:23:18,141 --> 06:23:19,843 I'M NOT A RESEARCHER. 9411 06:23:19,910 --> 06:23:21,244 I'M AN EDUCATOR AND ALL THE WORK 9412 06:23:21,311 --> 06:23:24,348 YOU DO IS VITAL FOR THE END OF 9413 06:23:24,414 --> 06:23:25,515 MY FIELD. 9414 06:23:25,582 --> 06:23:26,750 I'M HERE TO TALK ABOUT A PROGRAM 9415 06:23:26,817 --> 06:23:32,022 NEAR AND DEAR TO MY HEART. 9416 06:23:32,089 --> 06:23:36,593 KALEIDOSCOPE ARTS ENRICHMENT 9417 06:23:36,660 --> 06:23:38,662 PROGRAM IN PHILADELPHIA, PA 9418 06:23:38,729 --> 06:23:41,598 STARTED IN 1990 A FULLY 9419 06:23:41,665 --> 06:23:44,901 INTEGRATED ART PROGRAM THROUGH 9420 06:23:44,968 --> 06:23:46,837 VISUAL MOVEMENT AND ART AND 9421 06:23:46,903 --> 06:23:51,308 MUSIC. 9422 06:23:51,375 --> 06:23:54,778 WE SERVE 90% HEAD START ELIGIBLE 9423 06:23:54,845 --> 06:23:55,379 FAMILIES. 9424 06:23:55,445 --> 06:23:57,481 WE SERVE 115 CHILDREN ANNUALLY 9425 06:23:57,547 --> 06:24:00,150 EACH YEAR AND RECEIVED SOME 9426 06:24:00,217 --> 06:24:00,384 AWARDS. 9427 06:24:00,450 --> 06:24:06,356 WE RECEIVED THE AWARD PRESENTED 9428 06:24:06,423 --> 06:24:10,660 BY HILLARY CLINTON AND RECEIVED 9429 06:24:10,727 --> 06:24:12,729 THE HIGHEST RATING AND 9430 06:24:12,796 --> 06:24:18,335 NATIONALLY ACCRED ED -- 9431 06:24:18,402 --> 06:24:19,403 ACCREDITED BY THE NATIONAL 9432 06:24:19,469 --> 06:24:20,604 ASSOCIATION OF EDUCATED CHILDREN 9433 06:24:20,670 --> 06:24:23,407 AND ALL THE ATTRIBUTES AND 9434 06:24:23,473 --> 06:24:26,710 ACCOLADES ARE AMAZING 9435 06:24:26,777 --> 06:24:27,778 ACCOMPLISHMENTS BUT ALL WE 9436 06:24:27,844 --> 06:24:28,512 LEARNED FROM THE RESEARCH WE 9437 06:24:28,578 --> 06:24:37,187 BELIEVE WE CAN DO MORE. 9438 06:24:37,254 --> 06:24:39,856 KWEST IS OUR INTEGRATED MODEL WE 9439 06:24:39,923 --> 06:24:42,125 BELIEVE WE CAN SHARE AND SCALE 9440 06:24:42,192 --> 06:24:45,128 SUCCESSFULLY NATIONWIDE. 9441 06:24:45,195 --> 06:24:47,364 THE RESEARCH SHOWED POWERFUL 9442 06:24:47,431 --> 06:24:50,000 COMPONENTS THAT WE PLAN TO 9443 06:24:50,066 --> 06:24:51,435 CAPTURE INTO THIS MODEL. 9444 06:24:51,501 --> 06:24:53,870 ONE BEING SCHOOL READINESS. 9445 06:24:53,937 --> 06:24:55,472 WE HEARD A LOT ABOUT SCHOOL 9446 06:24:55,539 --> 06:24:57,474 READINESS AND OUR CHILDREN HAVE 9447 06:24:57,541 --> 06:25:00,343 SHOWN THEY HAVE INCREASED 9448 06:25:00,410 --> 06:25:02,846 RECOGNITION AND RETENTION AND 9449 06:25:02,913 --> 06:25:06,249 VOCABULARY SKILLS AND THIS IS 9450 06:25:06,316 --> 06:25:06,883 KEY FOR CHILDREN FROM 9451 06:25:06,950 --> 06:25:09,386 DISADVANTAGE AND BLACK AND BROWN 9452 06:25:09,453 --> 06:25:12,622 CHILDREN AND THOSE WHO LEARN 9453 06:25:12,689 --> 06:25:15,292 DIFFERENTLY AND CAN EVEN THE 9454 06:25:15,358 --> 06:25:18,462 PLAYING FIELD AND WHEN YOUR NOT 9455 06:25:18,528 --> 06:25:20,397 WORRIED ABOUT YOUR FINANCES YOU 9456 06:25:20,464 --> 06:25:21,198 CAN FOCUS BETTER AND CHILDREN 9457 06:25:21,264 --> 06:25:22,632 HAVE STRESS BUT DON'T KNOW HOW 9458 06:25:22,699 --> 06:25:24,201 TO EXPRESS IT AND GIVING THEM AN 9459 06:25:24,267 --> 06:25:28,505 OPPORTUNITY TO PARTICIPATE IN 9460 06:25:28,572 --> 06:25:29,906 ART INTEGRATION AND THEIR 9461 06:25:29,973 --> 06:25:30,841 CORTISOL LEVELS ARE LOWER AND 9462 06:25:30,907 --> 06:25:32,776 THEY'RE ABLE TO FOCUS AND THAT'S 9463 06:25:32,843 --> 06:25:34,244 ABOUT WHAT WE WANT AND SOCIAL 9464 06:25:34,311 --> 06:25:35,645 AND EMOTIONAL SKILLS WHEN 9465 06:25:35,712 --> 06:25:37,080 THEY'RE ABLE TO MANAGE THEIR 9466 06:25:37,147 --> 06:25:38,748 EMOTIONS, EXPRESS HOW THEY FEEL 9467 06:25:38,815 --> 06:25:41,284 AND ABLE TO MAKE DEEPER 9468 06:25:41,351 --> 06:25:42,352 CONNECTIONS WITH OTHER CHILDREN 9469 06:25:42,419 --> 06:25:44,321 AND ADULTS AND THAT'S IMPORTANT. 9470 06:25:44,387 --> 06:25:48,124 THIS IS A PROGRAM AND ALSO LESS 9471 06:25:48,191 --> 06:25:50,861 PRONE TO SUSPENSION AND 9472 06:25:50,927 --> 06:25:54,631 EXPULSION AND THIS A PROGRAM FOR 9473 06:25:54,698 --> 06:25:55,999 THE WHOLE CHILD TO CLOSE THE 9474 06:25:56,066 --> 06:25:56,399 LEARNING GAP. 9475 06:25:56,466 --> 06:25:57,734 THANK YOU FOR ALL YOU DO BECAUSE 9476 06:25:57,801 --> 06:25:59,803 I BELIEVE THE ARTS CAN CHANGE 9477 06:25:59,870 --> 06:26:00,704 THE FACE OF EDUCATION WITHOUT 9478 06:26:00,770 --> 06:26:02,839 DATA IT'S A STRUGGLE SO THANK 9479 06:26:02,906 --> 06:26:11,882 YOU ALL. 9480 06:26:12,015 --> 06:26:14,518 >> I WISH I COULD LEAVE IT AT 9481 06:26:14,584 --> 06:26:16,486 THAT. 9482 06:26:16,553 --> 06:26:17,554 A LOT OF THE CONVERSATION ON 9483 06:26:17,621 --> 06:26:21,658 SCIENCE ON SOUND AND MUSIC AND 9484 06:26:21,725 --> 06:26:23,260 EDUCATION CENTERS ON CURING BUT 9485 06:26:23,326 --> 06:26:25,095 ANOTHER WAY OF LOOKING AT IT IS 9486 06:26:25,161 --> 06:26:27,464 THINKING WHAT WOULD HAPPEN IF 9487 06:26:27,531 --> 06:26:30,834 YOU WERE DEPRIVED OF MUSIC. 9488 06:26:30,901 --> 06:26:34,271 BOTH MAKING IT AND LISTENING. 9489 06:26:34,337 --> 06:26:38,775 I KNOW AT LEAST IN MY CASE AND 9490 06:26:38,842 --> 06:26:39,976 LIKELY OTHER PEOPLE WOULD SUFFER 9491 06:26:40,043 --> 06:26:42,345 A LOT IN THAT CONTEXT. 9492 06:26:42,412 --> 06:26:43,647 THAT SOUNDS LIKE A HORRIBLE 9493 06:26:43,713 --> 06:26:45,749 EXPERIMENT BUT THAT IS THE 9494 06:26:45,815 --> 06:26:46,850 EXPERIMENT THAT WE HAVE BEEN 9495 06:26:46,917 --> 06:26:51,755 DOING IN SCHOOLS. 9496 06:26:51,821 --> 06:26:54,157 SO THAT'S WHY IT'S IMPORTANT TO 9497 06:26:54,224 --> 06:26:55,859 UNDERSTAND WHAT MUSIC CAN DO IN 9498 06:26:55,926 --> 06:26:57,761 THE CONTEXT OF THE SCHOOLS. 9499 06:26:57,827 --> 06:27:01,665 I WAS UNFORTUNATE TO BE 9500 06:27:01,731 --> 06:27:03,199 CONTACTED WITH MY GRADUATE 9501 06:27:03,266 --> 06:27:07,671 ADVISER AND WE STARTED WORKING 9502 06:27:07,737 --> 06:27:10,106 ON UNDERSTANDING THE AFFECT OF 9503 06:27:10,173 --> 06:27:19,149 MAKING MUSIC IN SCHOOL AND IN 9504 06:27:19,215 --> 06:27:22,852 SYNCHRONIZING WITH MUSIC FROM 9505 06:27:22,919 --> 06:27:24,354 INDONESIA PUTTING EMPHASIS ON 9506 06:27:24,421 --> 06:27:26,823 INTRAPERSONAL RHYTHMIC 9507 06:27:26,890 --> 06:27:37,100 CONNECTIONS. 9508 06:27:41,504 --> 06:27:45,041 AND THOSE WHO CAN BETTER 9509 06:27:45,108 --> 06:27:45,642 SYNCHRONIZE WITH THEIR PEERS 9510 06:27:45,709 --> 06:27:47,844 WORK BETTER ACCORDING TO THEIR 9511 06:27:47,911 --> 06:27:48,678 TEACHERS. 9512 06:27:48,745 --> 06:27:50,814 WORKING IN SCHOOLS I REALIZED 9513 06:27:50,880 --> 06:27:52,449 THERE'S SO MANY THINGS WE KNOW 9514 06:27:52,515 --> 06:27:55,652 THAT ARE GOOD IN EDUCATION AND 9515 06:27:55,719 --> 06:27:58,788 GOOD FOR COGNITION THAT ARE NOT 9516 06:27:58,855 --> 06:28:00,390 REACHING SCHOOLS EVEN THOUGH 9517 06:28:00,457 --> 06:28:03,793 THEY'RE VERY WELL ESTABLISHED. 9518 06:28:03,860 --> 06:28:05,595 SO IT WAS FRUSTRATING FOR ME AND 9519 06:28:05,662 --> 06:28:10,033 I STARTED THINKING HOW TO BRING 9520 06:28:10,100 --> 06:28:14,571 MUSIC TO SCHOOLS AND IN A WAY I 9521 06:28:14,638 --> 06:28:16,206 STARTED THINKING MORE 9522 06:28:16,272 --> 06:28:17,140 POLITICALLY AND STARTED BRING 9523 06:28:17,207 --> 06:28:18,408 THE SENSE OF MUSIC TO SCHOOLS IN 9524 06:28:18,475 --> 06:28:21,077 THE FORM OF OUTREACH HAVING 9525 06:28:21,144 --> 06:28:23,346 CHILDREN LEARNING ABOUT 9526 06:28:23,413 --> 06:28:25,315 VIBRATIONS AND FREQUENCIES BY 9527 06:28:25,382 --> 06:28:26,850 PLAYING WITH SOUND AND MAKING 9528 06:28:26,916 --> 06:28:28,151 MUSICAL INSTRUMENTS AND I 9529 06:28:28,218 --> 06:28:30,587 CREATED THE PROGRAM LISTENING TO 9530 06:28:30,654 --> 06:28:32,122 WAVES. 9531 06:28:32,188 --> 06:28:39,162 IT'S NOW REACHING THOUSANDS OF 9532 06:28:39,229 --> 06:28:40,430 CHILDREN. 9533 06:28:40,497 --> 06:28:43,767 AND I HOPE MY EXPERIENCE -- I 9534 06:28:43,833 --> 06:28:49,172 THINK OUR DUTY IS NOT ONLY -- MY 9535 06:28:49,239 --> 06:28:51,908 DUTY IS NOT ONLY TO THE BASIC 9536 06:28:51,975 --> 06:28:56,146 BUT THINK HOW TO MAKE MUSIC 9537 06:28:56,212 --> 06:29:00,016 REACH CHILDREN WHERE THEY ARE 9538 06:29:00,083 --> 06:29:03,353 AND PLEASE CHECK WEBSITE BECAUSE 9539 06:29:03,420 --> 06:29:04,921 OUR WEB APPLICATIONS ARE SUPER 9540 06:29:04,988 --> 06:29:05,088 FUN. 9541 06:29:05,155 --> 06:29:15,331 THANK YOU. 9542 06:29:17,534 --> 06:29:18,902 >> I DON'T KNOW IF ANY AGENCY 9543 06:29:18,968 --> 06:29:25,275 OFFICIAL HERE BUT THE NATIONAL 9544 06:29:25,341 --> 06:29:28,945 FOUNDATION SUPPORTS WORK. 9545 06:29:29,012 --> 06:29:29,713 >> THANK YOU. 9546 06:29:29,779 --> 06:29:31,881 SO BEFORE I START I WANTED TO 9547 06:29:31,948 --> 06:29:33,183 SAY I'M ABSOLUTELY DELIGHTED TO 9548 06:29:33,249 --> 06:29:36,219 BE HERE TODAY PARTICULARLY AS A 9549 06:29:36,286 --> 06:29:37,721 MUSICIAN EDUCATION RESEARCHER 9550 06:29:37,787 --> 06:29:39,089 WITH MORE OF A SOCIAL SCIENCE 9551 06:29:39,155 --> 06:29:40,090 ASPECT. 9552 06:29:40,156 --> 06:29:44,427 I STARTED AS A MUSIC TEACHER AND 9553 06:29:44,494 --> 06:29:46,529 STARTED IN THE DATA LAB AT NEA 9554 06:29:46,596 --> 06:29:48,698 RESEARCH LAB IN SCHOOLS AND I 9555 06:29:48,765 --> 06:29:51,868 MADE A TON OF CONNECTIONS 9556 06:29:51,935 --> 06:29:54,838 BETWEEN THE RESEARCH IN MUSIC 9557 06:29:54,904 --> 06:29:58,842 EDUCATION AND THE RESEARCH AND 9558 06:29:58,908 --> 06:30:00,343 WITH-DR. EARHART'S WORK THE 9559 06:30:00,410 --> 06:30:02,712 CONCEPT OF MENTAL SINGING HAS 9560 06:30:02,779 --> 06:30:03,580 RICH LITERATURE IN MUSIC 9561 06:30:03,646 --> 06:30:03,880 EDUCATION. 9562 06:30:03,947 --> 06:30:08,918 WE CALL THAT CONCEPT AUDIATION. 9563 06:30:08,985 --> 06:30:10,019 THOSE LITERATURES AREN'T IN 9564 06:30:10,086 --> 06:30:10,820 CONVERSATION WITH EACH OTHER 9565 06:30:10,887 --> 06:30:14,824 BECAUSE WE APPROACH THEM FROM 9566 06:30:14,891 --> 06:30:18,261 DIFFERENT VOCABULARIES EVEN. 9567 06:30:18,328 --> 06:30:19,329 I'M GRATEFUL TO PLAY IN BOTH 9568 06:30:19,395 --> 06:30:19,796 POOLS TODAY. 9569 06:30:19,863 --> 06:30:22,699 I MADE A CONNECTION WITH 9570 06:30:22,766 --> 06:30:25,101 DR. BUGOS' WORK AND HER NEA LAB 9571 06:30:25,168 --> 06:30:26,836 IS CALLED THE CALM LAB AND MINE 9572 06:30:26,903 --> 06:30:29,339 IS CALLED THE MAD LAB AND I HOPE 9573 06:30:29,405 --> 06:30:30,440 THAT'S NOT TOO REVEALING. 9574 06:30:30,507 --> 06:30:33,710 THERE IT IS. 9575 06:30:33,777 --> 06:30:34,844 WHENEVER YOU TAKE AWAY FROM THE 9576 06:30:34,911 --> 06:30:37,247 WORK I WANT TO SHARE ONE 9577 06:30:37,313 --> 06:30:38,314 TAKEAWAY FROM A LOT OF SOCIAL 9578 06:30:38,381 --> 06:30:40,416 SCIENCE WORK AND MUSIC EDUCATION 9579 06:30:40,483 --> 06:30:42,018 I'VE DONE AND THAT'S MUSIC 9580 06:30:42,085 --> 06:30:45,922 EDUCATION IN THE AMERICAN PUBLIC 9581 06:30:45,989 --> 06:30:48,191 SCHOOLS IS NOT AN EQUITABLY 9582 06:30:48,258 --> 06:30:49,425 DISTRIBUTED RESOURCE. 9583 06:30:49,492 --> 06:30:51,161 I WORKED WITH THE NATIONAL 9584 06:30:51,227 --> 06:30:53,696 CENTER FOR EDUCATION STATISTICS 9585 06:30:53,763 --> 06:30:54,831 AND THE ASSESSMENT OF 9586 06:30:54,898 --> 06:30:58,535 EDUCATIONAL PROGRESS AND MOST 9587 06:30:58,601 --> 06:31:00,003 STUDIES CONSISTENTLY SHOW 9588 06:31:00,069 --> 06:31:01,871 AMERICAN SOCIETY DENIES THE 9589 06:31:01,938 --> 06:31:04,040 BENEFITS TO BLACK AND BROWN 9590 06:31:04,107 --> 06:31:06,509 CHILDREN AND CHILDREN TO POORER 9591 06:31:06,576 --> 06:31:09,279 FAMILIES AND THOSE SCHOOLS WHO 9592 06:31:09,345 --> 06:31:11,114 HAVE LEARN DIFFERENCES AND THOSE 9593 06:31:11,181 --> 06:31:13,049 ATTENDING SMALLER SCHOOLS AND 9594 06:31:13,116 --> 06:31:13,550 CHARTER SCHOOLS. 9595 06:31:13,616 --> 06:31:16,753 THESE CHILDREN DO NOT HAVE THE 9596 06:31:16,820 --> 06:31:18,354 SAME ACCESS TO MUSIC EDUCATION 9597 06:31:18,421 --> 06:31:22,892 IN SECONDARY SCHOOL AS THEIR 9598 06:31:22,959 --> 06:31:26,729 PEERS AND THAT'S UNCONSCIONABLE 9599 06:31:26,796 --> 06:31:27,831 IN AMERICAN SOCIETY AND I WORK 9600 06:31:27,897 --> 06:31:30,266 TO TRY TO FIX. 9601 06:31:30,333 --> 06:31:36,206 THESE ARE THREE QUICK LINKS TO 9602 06:31:36,272 --> 06:31:40,810 STUDIES. 9603 06:31:40,877 --> 06:31:46,850 ABOUT ONE-THIRD OF KIDS DO 9604 06:31:46,916 --> 06:31:54,357 GRADUATE STUDIED AT LEAST ONE 9605 06:31:54,424 --> 06:31:56,492 YEAR OF MUSIC AND IF WE BELIEVE 9606 06:31:56,559 --> 06:31:59,562 IN THE SOCIAL BENEFITS WE NEED 9607 06:31:59,629 --> 06:32:02,298 TO BECOME FIERCE ADVOCATES FOR 9608 06:32:02,365 --> 06:32:02,832 RECTIFYING THAT ISSUE. 9609 06:32:02,899 --> 06:32:09,939 THANKS. 9610 06:32:10,006 --> 06:32:13,509 >> THANK YOU TO OUR SPEAKERS AND 9611 06:32:13,576 --> 06:32:21,184 PANELESTSS -- PANELISTS FOR YOU 9612 06:32:21,251 --> 06:32:21,417 REMARKS. 9613 06:32:21,484 --> 06:32:26,623 WE START OFF WITH A QUESTION 9614 06:32:26,689 --> 06:32:30,193 ADDRESSED TO MIRIAM AND MAUD AND 9615 06:32:30,260 --> 06:32:32,595 HOW CAN WE BUILD CAPACITY AT THE 9616 06:32:32,662 --> 06:32:36,733 INTERVENTION IN PARTICULAR HOW 9617 06:32:36,799 --> 06:32:38,334 CAN WE RESEARCH BETTER 9618 06:32:38,401 --> 06:32:39,602 CHARACTERIZE AND OPTIMIZE THE 9619 06:32:39,669 --> 06:32:41,437 SOCIAL AND EMOTIONAL BENEFITS 9620 06:32:41,504 --> 06:32:46,242 THAT HAVE BEEN ASSOCIATED WITH 9621 06:32:46,309 --> 06:32:52,815 MUSIC EDUCATION? 9622 06:32:52,882 --> 06:32:56,452 >> SO I WORKED WITH THREE 9623 06:32:56,519 --> 06:32:57,754 DIFFERENT MUSIC EDUCATION 9624 06:32:57,820 --> 06:32:59,155 PROGRAMS IN LOS ANGELES. 9625 06:32:59,222 --> 06:33:03,993 THE COLE BURN SCHOOL OF MUSIC 9626 06:33:04,060 --> 06:33:10,300 EDUCATION AND L.A. PHIL AND 9627 06:33:10,366 --> 06:33:15,571 CONSERVATORY AND I THINK GOING 9628 06:33:15,638 --> 06:33:17,173 INTO THE MUSIC PROGRAMS AND 9629 06:33:17,240 --> 06:33:18,841 ASKING THEM WHAT IS LACKING AND 9630 06:33:18,908 --> 06:33:26,349 WHAT WE CAN STUDY BUT ALSO 9631 06:33:26,416 --> 06:33:27,417 ACCEPTING WE'RE WALKING INTO 9632 06:33:27,483 --> 06:33:28,584 THIS AS AN INVESTIGATOR AND 9633 06:33:28,651 --> 06:33:31,688 MAKING THE RELATIONSHIP THE IDEA 9634 06:33:31,754 --> 06:33:34,057 IS FOR US TO BETTER UNDERSTAND 9635 06:33:34,123 --> 06:33:35,959 WHAT CAN BE MORE EFFECTIVE. 9636 06:33:36,025 --> 06:33:38,828 WHAT DOSAGE OF MUSIC TRAINING OR 9637 06:33:38,895 --> 06:33:42,365 WHAT AGE OF CHILDREN SO I THINK 9638 06:33:42,432 --> 06:33:45,468 A LOT OF RELATIONSHIP BUILDING 9639 06:33:45,535 --> 06:33:46,736 AND UNDERSTANDING THEIR NEEDS SO 9640 06:33:46,803 --> 06:33:48,771 THE RESEARCH QUESTIONS CAN BE 9641 06:33:48,838 --> 06:33:50,840 BUILT AROUND THE QUESTIONS THAT 9642 06:33:50,907 --> 06:33:58,281 THEY HAVE. 9643 06:33:58,348 --> 06:33:58,815 >> STEVEN. 9644 06:33:58,881 --> 06:34:00,383 >> THANKS. 9645 06:34:00,450 --> 06:34:05,855 JUST TO BUILD ON WHAT ASSAL 9646 06:34:05,922 --> 06:34:07,056 SAID, THE WORK I'VE DONE I'M 9647 06:34:07,123 --> 06:34:09,559 MOST PROUD OF IS WORK I DIDN'T 9648 06:34:09,625 --> 06:34:12,395 REALLY COME UP THE RESEARCH 9649 06:34:12,462 --> 06:34:13,196 QUESTIONS PER SE. 9650 06:34:13,262 --> 06:34:16,165 THE FOLKS WHO RUN PLAY ON PHILLY 9651 06:34:16,232 --> 06:34:17,900 AND THEY SAID WE'RE INTERESTED 9652 06:34:17,967 --> 06:34:20,370 IN EXECUTIVE FUNCTION THAT WAS 9653 06:34:20,436 --> 06:34:22,839 15 YEARS AGO AND WHO LET YOU 9654 06:34:22,905 --> 06:34:26,042 KNOW THAT TERM I WAS KIND OF 9655 06:34:26,109 --> 06:34:26,342 SCANDALIZED. 9656 06:34:26,409 --> 06:34:33,649 I DO REALLY THINK THAT MUSICIANS 9657 06:34:33,716 --> 06:34:40,023 AND MUSIC EDUCATORS KNOW A LOT 9658 06:34:40,089 --> 06:34:41,958 AND I THINK IN MY EXPERIENCE 9659 06:34:42,025 --> 06:34:43,860 THEY'RE GENERALLY THOUGHTFUL AND 9660 06:34:43,926 --> 06:34:49,699 VERY SMART PEOPLE AND REALLY 9661 06:34:49,766 --> 06:34:52,168 THINKING WITH THEM ABOUT WHAT 9662 06:34:52,235 --> 06:34:53,269 THE RESEARCH QUESTIONS ARE OR 9663 06:34:53,336 --> 06:34:58,541 SHOULD BE IS THE WAY TO GO. 9664 06:34:58,608 --> 06:35:05,148 AND BUILDING ON THAT OFTEN WE 9665 06:35:05,214 --> 06:35:07,150 IMMEDIATELY GO TO WHAT ARE THE 9666 06:35:07,216 --> 06:35:10,219 OUTCOMES WITHOUT THINKING MAYBE 9667 06:35:10,286 --> 06:35:11,187 AS MUCH AS WE SHOULD ABOUT 9668 06:35:11,254 --> 06:35:14,657 PROCESS AND PART IS SOMETHING 9669 06:35:14,724 --> 06:35:18,394 JENNIFER REFERENCED WHICH IS IF 9670 06:35:18,461 --> 06:35:19,395 WE BELIEVE MUSIC EDUCATION 9671 06:35:19,462 --> 06:35:20,496 YIELDS THESE BENEFITS AT LEAST 9672 06:35:20,563 --> 06:35:24,367 ON SOME LEVEL THE BENEFITS ARE 9673 06:35:24,434 --> 06:35:28,771 BEING MEDIATED OR CARRIED BY 9674 06:35:28,838 --> 06:35:29,839 WHAT CHILDREN LEARN THROUGH AND 9675 06:35:29,906 --> 06:35:30,139 ABOUT MUSIC. 9676 06:35:30,206 --> 06:35:35,945 I THINK A LOT OF TIMES WE CAN 9677 06:35:36,012 --> 06:35:43,920 SKIP OVER THOSE OUTCOMES AND 9678 06:35:43,986 --> 06:35:46,856 IT'S PROBABLY AN OVERSIGHT ON MY 9679 06:35:46,923 --> 06:35:57,133 PART. 9680 06:35:57,200 --> 06:36:01,037 >> WHAT I HAVE TO ADD IS 9681 06:36:01,104 --> 06:36:02,605 DIMINISHING QUICKLY. 9682 06:36:02,672 --> 06:36:06,042 IN OUR WORK WE FOCUSSED ON 9683 06:36:06,109 --> 06:36:07,844 MUTUAL RESPECT BETWEEN THE 9684 06:36:07,910 --> 06:36:08,744 COMMUNITY AND RECOGNIZING HOW 9685 06:36:08,811 --> 06:36:10,580 MUCH EDUCATORS AND WISDOM THEY 9686 06:36:10,646 --> 06:36:11,080 HAVE. 9687 06:36:11,147 --> 06:36:13,649 THERE'S BEEN TOO MUCH OF A 9688 06:36:13,716 --> 06:36:16,085 TRADITIONAL OF TOP-DOWN SCIENCE 9689 06:36:16,152 --> 06:36:17,220 RESEARCH IN SCHOOLS. 9690 06:36:17,286 --> 06:36:19,889 SO REALLY FOCUSSING ON GIVING 9691 06:36:19,956 --> 06:36:20,223 BACK. 9692 06:36:20,289 --> 06:36:23,226 ONE WAY WE DO THAT IS WE HAVE A 9693 06:36:23,292 --> 06:36:25,561 MONTHLY TEACHER RESEARCHER 9694 06:36:25,628 --> 06:36:27,263 COLLABORATIVE MEETING. 9695 06:36:27,330 --> 06:36:29,132 SO BASICALLY IT TAKES A LONG 9696 06:36:29,198 --> 06:36:30,399 TIME TO LEARN TO SPEAK EACH 9697 06:36:30,466 --> 06:36:31,868 OTHER'S LANGUAGE. 9698 06:36:31,934 --> 06:36:33,369 AND I THINK A REAL COMMITMENT 9699 06:36:33,436 --> 06:36:34,837 TOE THAT INVESTMENT IN THAT IS 9700 06:36:34,904 --> 06:36:37,273 REALLY IMPORTANT. 9701 06:36:37,340 --> 06:36:39,108 WHERE DOES THE SUPPORT FOR THAT 9702 06:36:39,175 --> 06:36:42,044 COME FROM IS AN INTERESTING 9703 06:36:42,111 --> 06:36:42,311 QUESTION. 9704 06:36:42,378 --> 06:36:47,316 WE HAD A SUPERINTENDENT WHO 9705 06:36:47,383 --> 06:36:54,390 THOUGHT PUTTING MY ARRESEARCHERN 9706 06:36:54,457 --> 06:37:01,230 A FULL OF SIGN TCIENTISTS IS A 9707 06:37:01,297 --> 06:37:02,665 THING. 9708 06:37:02,732 --> 06:37:05,902 >> DITTO, DITTO, DITTO AND 9709 06:37:05,968 --> 06:37:10,573 CONTINUE THE DIMINISHING RETURNS 9710 06:37:10,640 --> 06:37:12,708 THOUGH WHAT YOU SAID WAS 9711 06:37:12,775 --> 06:37:12,975 WONDERFUL. 9712 06:37:13,042 --> 06:37:14,844 AND ADDING THE DIVERSITY OF 9713 06:37:14,911 --> 06:37:17,847 VOICES WE HEARD HERE TODAY AND 9714 06:37:17,914 --> 06:37:18,848 THE VARIETY OF RESEARCH WE'VE 9715 06:37:18,915 --> 06:37:20,616 HEARD AND THE VARIETY OF 9716 06:37:20,683 --> 06:37:23,386 PROCESSES AND HOW THE RESEARCH 9717 06:37:23,452 --> 06:37:25,354 CAN BE APPROACHED AND THE 9718 06:37:25,421 --> 06:37:26,756 DIFFERENT MODELS FOR 9719 06:37:26,822 --> 06:37:30,193 PARTNERSHIPS AND VARIETY OF 9720 06:37:30,259 --> 06:37:31,894 OUTCOME MEASURES. 9721 06:37:31,961 --> 06:37:34,197 BUILDING OFF THIS PUSH TO GO TO 9722 06:37:34,263 --> 06:37:35,865 THE ULTIMATE OUTCOME AND I THINK 9723 06:37:35,932 --> 06:37:38,834 EVEN THAT QUESTION OF IS THAT 9724 06:37:38,901 --> 06:37:41,537 ULTIMATE OUTCOME IS A HUGE ONE 9725 06:37:41,604 --> 06:37:42,838 AND SCHOOL ATTENDANCE. 9726 06:37:42,905 --> 06:37:45,441 I'M IN THE AN EDUCATOR BUT I'M A 9727 06:37:45,508 --> 06:37:47,977 CLINICIAN AND CLINICAL 9728 06:37:48,044 --> 06:37:48,311 PSYCHOLOGIST. 9729 06:37:48,377 --> 06:37:50,112 THE NUMBER ONE THING IF YOU WANT 9730 06:37:50,179 --> 06:37:52,348 TO GET BETTER IN AT AN 9731 06:37:52,415 --> 06:37:53,249 INSTRUMENT OR LEARN COPING 9732 06:37:53,316 --> 06:37:54,850 SKILLS YOU NEED TO PRACTICE AND 9733 06:37:54,917 --> 06:37:55,885 DO IT. 9734 06:37:55,952 --> 06:37:57,620 THE IDEA OF MUSIC IS GETTING 9735 06:37:57,687 --> 06:37:59,722 PEOPLE IN THE DOOR CAN BE AN 9736 06:37:59,789 --> 06:38:01,257 OUTCOME MEASURE IN AND OF ITSELF 9737 06:38:01,324 --> 06:38:06,329 AND YOU CAN ADD TO ARE THERE 9738 06:38:06,395 --> 06:38:08,397 BENEFITS TO THE PROCESS AND 9739 06:38:08,464 --> 06:38:10,233 WHERE THE DIALOGUE THAT HELPS 9740 06:38:10,299 --> 06:38:11,934 YOU UNDERSTAND WHAT'S THIS 9741 06:38:12,001 --> 06:38:12,535 LOOKING LIKE IN THE SCHOOL 9742 06:38:12,602 --> 06:38:13,803 SETTING AND WHAT MATTERS TO THIS 9743 06:38:13,869 --> 06:38:16,272 COMMUNITY IS A WAY WE CAN BEST 9744 06:38:16,339 --> 06:38:19,075 PARTNER TO ADVANCE THE WORKS OF 9745 06:38:19,141 --> 06:38:23,546 WHAT IS MOST IMPACTFUL. 9746 06:38:23,613 --> 06:38:24,146 >> WONDERFUL. 9747 06:38:24,213 --> 06:38:26,849 WE HAVE QUESTIONS FROM THE 9748 06:38:26,916 --> 06:38:27,116 AUDIENCE. 9749 06:38:27,183 --> 06:38:30,386 >> THANK YOU. 9750 06:38:30,453 --> 06:38:34,457 I'M WONDERING WITH ALL THE LAB 9751 06:38:34,523 --> 06:38:36,125 AND SCIENTIFIC APPROACH BASED 9752 06:38:36,192 --> 06:38:36,959 APPROACH TO MUSICAL EDUCATION 9753 06:38:37,026 --> 06:38:39,195 HOW TO INCORPORATE THE FACT THAT 9754 06:38:39,262 --> 06:38:43,866 OUR KIDS LISTEN TO MUSIC ALL THE 9755 06:38:43,933 --> 06:38:46,068 TIME WHICH WE DON'T WANT THEM TO 9756 06:38:46,135 --> 06:38:48,371 LISTEN BUT THEY DO IT AND MY 9757 06:38:48,437 --> 06:38:51,173 DAUGHTER WAS 8 YEARS OLD AND SHE 9758 06:38:51,240 --> 06:38:54,844 WOULD LISTEN TO MUSIC I WOULDN'T 9759 06:38:54,910 --> 06:38:58,281 KNOW AND MAYBE IT'S MAYBE THE 9760 06:38:58,347 --> 06:38:59,815 LYRICS THEY'RE ATTRACTED TO BUT 9761 06:38:59,882 --> 06:39:01,150 IT COMES WITH MUSIC. 9762 06:39:01,217 --> 06:39:05,554 HOW DO YOU IN YOUR 9763 06:39:05,621 --> 06:39:09,825 INTERPRETATION ACCOUNT FOR THIS 9764 06:39:09,892 --> 06:39:12,928 WHEN WE DON'T KNOW WHY THEY 9765 06:39:12,995 --> 06:39:14,497 LISTEN FOR. 9766 06:39:14,563 --> 06:39:18,367 >> I'D LIKE TO TAKE THAT. 9767 06:39:18,434 --> 06:39:21,537 >> THANK YOU, JENNIFER. 9768 06:39:21,604 --> 06:39:22,672 >> SHE WAS WANTING TO SAY 9769 06:39:22,738 --> 06:39:23,039 SOMETHING. 9770 06:39:23,105 --> 06:39:25,975 >> THANK YOU SO MUCH FOR THE 9771 06:39:26,042 --> 06:39:26,242 QUESTION. 9772 06:39:26,309 --> 06:39:26,942 I'VE TAUGHT MUSIC EDUCATION FOR 9773 06:39:27,009 --> 06:39:30,379 A NUMBER OF YEARS AND KNOW WHAT 9774 06:39:30,446 --> 06:39:31,881 YOU'RE TALKING ABOUT. 9775 06:39:31,947 --> 06:39:34,417 IN TERMS OF VALIDATING WHAT THE 9776 06:39:34,483 --> 06:39:36,385 CHILDREN ARE LISTENING TO AND 9777 06:39:36,452 --> 06:39:38,888 EXPOSING THEM TO A RICH VARIETY 9778 06:39:38,954 --> 06:39:40,856 OF MUSIC AROUND THE WORLD IS AN 9779 06:39:40,923 --> 06:39:41,691 IMPORTANT THING AND IMPORTANT TO 9780 06:39:41,757 --> 06:39:42,892 LEARN ABOUT OTHER CULTURES 9781 06:39:42,958 --> 06:39:43,826 THROUGH MUSIC AND WE DO THIS ALL 9782 06:39:43,893 --> 06:39:46,796 THE TIME AND PART OF OUR 9783 06:39:46,862 --> 06:39:48,397 CURRICULUM IN MUSIC EDUCATION 9784 06:39:48,464 --> 06:39:50,866 AND ONE OF THE BENCHMARKS FOR 9785 06:39:50,933 --> 06:39:53,536 LEARNING DIFFERENT PARTS OF 9786 06:39:53,602 --> 06:39:54,370 CURRIC 9787 06:39:54,437 --> 06:39:56,605 CURRICULUM AND LEARNING THROUGH 9788 06:39:56,672 --> 06:39:58,941 INTERPRETATIONS AND MUSICAL 9789 06:39:59,008 --> 06:39:59,175 STYLES. 9790 06:39:59,241 --> 06:40:01,043 SO I THINK WHAT WE KNOW FROM THE 9791 06:40:01,110 --> 06:40:02,845 RESEARCH AND PSYCHOLOGICAL 9792 06:40:02,912 --> 06:40:04,880 RESEARCH IS MORE THEIR EXPOSED 9793 06:40:04,947 --> 06:40:06,615 TO DIFFERENT STYLES THE MORE 9794 06:40:06,682 --> 06:40:08,417 THEY'RE ABLE TO BECOME MORE 9795 06:40:08,484 --> 06:40:10,119 FAMILIAR WITH THE FORMAL 9796 06:40:10,186 --> 06:40:13,856 ELEMENTS OF MUSIC AND MELODY, 9797 06:40:13,923 --> 06:40:15,424 RHYTHM, HARMONY FORM AND TEACH 9798 06:40:15,491 --> 06:40:18,394 THEM TO LISTEN TO THOSE AND BE 9799 06:40:18,461 --> 06:40:20,062 MORE CRITICAL LISTENERS BECAUSE 9800 06:40:20,129 --> 06:40:23,199 WHEN THEY GROW OLDER THEY'LL BE 9801 06:40:23,265 --> 06:40:26,035 CONSUMERS WHETHER THEY LISTEN OR 9802 06:40:26,102 --> 06:40:28,170 ENGAGE IN MUSICAL EXPERIENCES. 9803 06:40:28,237 --> 06:40:34,377 >> I WANT TO ADD SOMETHING. 9804 06:40:34,443 --> 06:40:36,379 LISTENING TO MUSIC IS TO THE 9805 06:40:36,445 --> 06:40:39,115 WORLD OF MUSIC IS SAME AS 9806 06:40:39,181 --> 06:40:40,716 SPORTS. 9807 06:40:40,783 --> 06:40:42,418 PLAYING AND LISTENING ARE VERY 9808 06:40:42,485 --> 06:40:44,353 DIFFERENT THINGS. 9809 06:40:44,420 --> 06:40:46,222 ANOTHER THING IS PART OF THE 9810 06:40:46,288 --> 06:40:47,823 MUSIC EXPERIENCE IS LISTENING TO 9811 06:40:47,890 --> 06:40:48,958 THE MUSIC YOUR MOM DOESN'T WANT 9812 06:40:49,024 --> 06:40:54,630 YOU TO LISTEN. 9813 06:40:54,697 --> 06:40:56,932 I WAS GRATEFUL I COULD DO IT. 9814 06:40:56,999 --> 06:41:00,369 >> I WANTED TO ADD AN IMPORTANT 9815 06:41:00,436 --> 06:41:01,470 DEVELOPMENTAL MILESTONE TO HIT 9816 06:41:01,537 --> 06:41:04,173 IS THIS AUTONOMY FROM YOUR 9817 06:41:04,240 --> 06:41:07,276 FAMILY AND SENSE OF PERSONAL 9818 06:41:07,343 --> 06:41:09,111 IDENTITY AND PARTICULARLY FOR 9819 06:41:09,178 --> 06:41:10,613 PRETEENS AND YOUNG ADOLESCENTS 9820 06:41:10,679 --> 06:41:12,114 IT'S IMPORTANT TO HAVE 9821 06:41:12,181 --> 06:41:12,982 CONNECTION WITH YOUR PEERS THAT 9822 06:41:13,048 --> 06:41:14,417 IS SEPARATE FROM CONNECTION FROM 9823 06:41:14,483 --> 06:41:16,419 YOUR FAMILY AND THAT PREDICTS 9824 06:41:16,485 --> 06:41:18,387 ALL POSITIVE SOCIAL OUTCOMES 9825 06:41:18,454 --> 06:41:19,021 GOING FORWARD. 9826 06:41:19,088 --> 06:41:21,424 ONE OF THE WAYS KIDS DO THAT IS 9827 06:41:21,490 --> 06:41:23,492 TO HAVE A SHARED MUSICAL 9828 06:41:23,559 --> 06:41:24,293 LANGUAGE THEY'RE PARENTS DON'T 9829 06:41:24,360 --> 06:41:26,896 UNDERSTAND AND SO TO BE ABLE TO 9830 06:41:26,962 --> 06:41:28,697 FIND THAT AND COMMUNICATE ABOUT 9831 06:41:28,764 --> 06:41:30,399 THAT IS AN IMPORTANT DEVELOPMENT 9832 06:41:30,466 --> 06:41:33,669 MILESTONE FOR KIDS. 9833 06:41:33,736 --> 06:41:37,873 >> I WANTED TO ADD TO THAT -- 9834 06:41:37,940 --> 06:41:38,874 OKAY. 9835 06:41:38,941 --> 06:41:40,976 AS A PEDIATRICIAN I'M SEEING 9836 06:41:41,043 --> 06:41:44,246 MOST MY KIDS ARE TEENAGERS NOW 9837 06:41:44,313 --> 06:41:45,414 AND COLLEGE STUDENTS AND I THINK 9838 06:41:45,481 --> 06:41:47,283 IT IS VALID FOR THEM TO BE 9839 06:41:47,349 --> 06:41:49,285 LISTENING TO THEIR OWN MUSIC BUT 9840 06:41:49,351 --> 06:41:51,387 ALSO INTERESTINGLY AT HARVARD 9841 06:41:51,454 --> 06:41:53,389 I'M TEACHING A ROLE ON THE ROLE 9842 06:41:53,456 --> 06:41:54,390 OF MUSIC AND EDUCATION AND 9843 06:41:54,457 --> 06:41:56,292 HEALTH AND MY STUDENTS ARE 9844 06:41:56,358 --> 06:41:57,827 REALLY PLAYING DIFFERENT 9845 06:41:57,893 --> 06:41:59,829 INSTRUMENTS SOME ARE DEEJAYS NOW 9846 06:41:59,895 --> 06:42:02,565 AND TO HEAR THEY FEEL VALIDATED 9847 06:42:02,631 --> 06:42:05,568 THAT THOSE ARE INCLUDED IN THE 9848 06:42:05,634 --> 06:42:06,836 MUSICS THAT WE'RE STUDYING AND 9849 06:42:06,902 --> 06:42:10,673 THAT THEY'RE ALLOWED TO ENGAGE 9850 06:42:10,739 --> 06:42:10,873 IN. 9851 06:42:10,940 --> 06:42:12,441 I THINK THAT'S AN IMPORTANT 9852 06:42:12,508 --> 06:42:14,176 THING BECAUSE WE ALWAYS THINK 9853 06:42:14,243 --> 06:42:16,212 ABOUT THE YOUNG ARTIST AND THE 9854 06:42:16,278 --> 06:42:17,680 6-YEAR-OLD ALL ARE ARTISTS BY 9855 06:42:17,746 --> 06:42:20,049 THE TIME THEY GET TO 10th GRADE 9856 06:42:20,115 --> 06:42:22,751 THEY SAY I CAN'T DO ART. 9857 06:42:22,818 --> 06:42:23,552 THAT'S BECAUSE SOMETHING IN OUR 9858 06:42:23,619 --> 06:42:24,954 SCHOOL SYSTEM HAS TAKEN THAT 9859 06:42:25,020 --> 06:42:26,188 AWAY FROM THEM. 9860 06:42:26,255 --> 06:42:28,691 SIMILARLY WITH MUSIC, THE MORE 9861 06:42:28,757 --> 06:42:30,125 WE CAN GIVE OPPORTUNITIES TO 9862 06:42:30,192 --> 06:42:32,194 EMBRACE MUSIC IN EVERY SINGLE 9863 06:42:32,261 --> 06:42:33,696 SETTING THE MORE THEY'LL FEEL 9864 06:42:33,762 --> 06:42:36,398 THEY ARE MUSICIANS OR CAN 9865 06:42:36,465 --> 06:42:38,834 CONTINUE TO FOLLOW THAT FIELD 9866 06:42:38,901 --> 06:42:44,006 EVEN AFTER THEY'VE GRADUATED. 9867 06:42:44,073 --> 06:42:45,174 >> THANK YOU SO MUCH. 9868 06:42:45,241 --> 06:42:47,843 IS YOU GUYS HAVE BEEN FANTASTIC. 9869 06:42:47,910 --> 06:42:52,915 THIS QUESTION WE'LL SAY IS A BIT 9870 06:42:52,982 --> 06:42:55,684 DIRECTED TOWARDS INDRAY 9871 06:42:55,751 --> 06:42:56,018 VISKONTAS. 9872 06:42:56,085 --> 06:42:57,653 A LOT OF WHAT I DO IS FOCUSSED 9873 06:42:57,720 --> 06:43:00,422 ON COMMUNITY ENGAGEMENT AND 9874 06:43:00,489 --> 06:43:03,826 DURING THE PANDEMIC AT ITS PEAK 9875 06:43:03,893 --> 06:43:05,861 WE HAD TO STRATEGIZE HOW TO TO 9876 06:43:05,928 --> 06:43:09,665 GET THE MESSAGE OUT ABOUT THE 9877 06:43:09,732 --> 06:43:12,234 VACCINES AND WE WENT TO UNION 9878 06:43:12,301 --> 06:43:14,136 HALLS AND HOUSING UNITS AND 9879 06:43:14,203 --> 06:43:16,572 SCHOOLS AND WHEN WE LOOKED AT 9880 06:43:16,639 --> 06:43:18,841 DATA SOME CAUGHT US OFF GUARD 9881 06:43:18,908 --> 06:43:22,444 LIKE UNION HALLS AND CERTAIN 9882 06:43:22,511 --> 06:43:24,747 SCHOOLS AND WHAT WE FOUND IS WHY 9883 06:43:24,813 --> 06:43:28,050 DO THOSE SOCIAL NETWORKS WORK 9884 06:43:28,117 --> 06:43:32,154 AND OTHERS DIDN'T IT WAS A 9885 06:43:32,221 --> 06:43:33,622 POST-BAC WAS TRYING TO 9886 06:43:33,689 --> 06:43:36,325 UNDERSTAND WHAT MADE THE 9887 06:43:36,392 --> 06:43:37,826 CULTURES UNIQUE WAS MUSIC. 9888 06:43:37,893 --> 06:43:40,262 THE SOCIAL COHESION THAT IS SO 9889 06:43:40,329 --> 06:43:42,831 STRONG WITH THESE INNATE ADULTS 9890 06:43:42,898 --> 06:43:44,934 AND THEY TRUST ONE ANOTHER AND 9891 06:43:45,000 --> 06:43:46,402 MUSIC'S THERE. 9892 06:43:46,468 --> 06:43:48,537 THE UNION HALLS HAVE A SONG THEY 9893 06:43:48,604 --> 06:43:50,573 SING THAT BRING THEM TOGETHER. 9894 06:43:50,639 --> 06:43:53,409 THE LOCAL PAINTERS AND PLUMBERS 9895 06:43:53,475 --> 06:43:55,311 WOULD DO TO UNITE EACH OTHER AND 9896 06:43:55,377 --> 06:43:57,680 THE SCHOOLS WITH AN ANTHEM, 9897 06:43:57,746 --> 06:43:59,114 HIGHER VACCINATION RATES. 9898 06:43:59,181 --> 06:44:02,818 WHAT WAS UP WITH -- THIS IS NOT 9899 06:44:02,885 --> 06:44:10,826 SOMETHING I WAS EXPLORING AND 9900 06:44:10,893 --> 06:44:21,337 THE SONGS STICK AND WITH. 9901 06:44:23,639 --> 06:44:28,510 >> FROM THE BIOLOGICAL 9902 06:44:28,577 --> 06:44:30,279 PERSPECTIVE THERE'S MECHANISMS 9903 06:44:30,346 --> 06:44:30,913 BY WHICH THIS SOCIAL COHESION 9904 06:44:30,980 --> 06:44:35,584 CAN HAPPEN. 9905 06:44:35,651 --> 06:44:41,590 AND THERE'S A ROLE IN BEAT SIN 9906 06:44:41,657 --> 06:44:44,393 -- SYNCHRONY AND BOUNCING THE 9907 06:44:44,460 --> 06:44:46,829 BABY WITH THE MUSIC SHOWS MORE 9908 06:44:46,895 --> 06:44:49,331 SOCIAL BEHAVIORS AND THERE'S A 9909 06:44:49,398 --> 06:44:51,033 RELATIONSHIP WITH LEVELS OF 9910 06:44:51,100 --> 06:44:51,900 OXYTOCIN. 9911 06:44:51,967 --> 06:44:57,940 WE CAN GET DOWN TO THE 9912 06:44:58,007 --> 06:45:00,409 NEUROCHEMICAL LEVEL AND SHARED 9913 06:45:00,476 --> 06:45:02,077 MUSIC MAKING THAT FORMS 9914 06:45:02,144 --> 06:45:03,679 ATTACHMENT AND THERE'S A DOWN 9915 06:45:03,746 --> 06:45:04,980 SIDE. 9916 06:45:05,047 --> 06:45:07,716 OXYTOCIN LEVELS ALSO MAKE YOU 9917 06:45:07,783 --> 06:45:09,685 MORE AGGRESSIVE TO PEOPLE YOU 9918 06:45:09,752 --> 06:45:12,354 FEEL ARE THREATENING YOUR LOVED 9919 06:45:12,421 --> 06:45:14,823 ONES AND WHY PEOPLE SAY I DON'T 9920 06:45:14,890 --> 06:45:18,394 JUST LOVE X GENRE OF MUSIC. 9921 06:45:18,460 --> 06:45:21,897 THEY HATE IT BECAUSE THEY MADE 9922 06:45:21,964 --> 06:45:23,866 AN ASSOCIATION WITH A 9923 06:45:23,932 --> 06:45:25,668 THREATENING STIMULUS BECAUSE I 9924 06:45:25,734 --> 06:45:27,136 ASSOCIATE IT WITH A GROUP 9925 06:45:27,202 --> 06:45:28,837 THREATENING MY LOVED ONES. 9926 06:45:28,904 --> 06:45:30,506 THERE'S AN A SOCIAL SIDE AND 9927 06:45:30,572 --> 06:45:32,107 MORE AS THALIA WAS SAYING IN 9928 06:45:32,174 --> 06:45:34,109 TERMS OF HOW WE IDENTIFY 9929 06:45:34,176 --> 06:45:34,910 OURSELVES AND FIGURE OUT WHO WE 9930 06:45:34,977 --> 06:45:35,277 ARE. 9931 06:45:35,344 --> 06:45:37,346 I THINK ONE OF THE THINGS WE 9932 06:45:37,413 --> 06:45:40,749 LOSE IS SOMETIMES IN THE PROCESS 9933 06:45:40,816 --> 06:45:41,684 OF DOING SOMETHING HARD, 9934 06:45:41,750 --> 06:45:43,986 LEARNING A MUSICAL INSTRUMENT 9935 06:45:44,053 --> 06:45:47,056 STRUGGLING WITH FIGURING OUT THE 9936 06:45:47,122 --> 06:45:48,390 HUNDRED PAGE VOTING GUIDE AND 9937 06:45:48,457 --> 06:45:50,826 THAT WORK IS THE WORK WE ARE 9938 06:45:50,893 --> 06:45:56,832 DOING TO FIGURE OUT WHO WE ARE. 9939 06:45:56,899 --> 06:45:57,966 FIGURING OUT WHICH BAND YOU'RE 9940 06:45:58,033 --> 06:46:00,402 GOING TO BOND WITH YOUR FRIENDS 9941 06:46:00,469 --> 06:46:02,838 ON HELPS YOU FIGURE OUT WHAT 9942 06:46:02,905 --> 06:46:04,673 YOU'LL VALUE AS A PERSON AND 9943 06:46:04,740 --> 06:46:05,507 WHAT'S IMPORTANT TO YOU. 9944 06:46:05,574 --> 06:46:07,910 IT DOESN'T SURPRISE ME WE UPDATE 9945 06:46:07,976 --> 06:46:10,813 THE WHITE PAPER AND I'LL LOOK 9946 06:46:10,879 --> 06:46:13,615 THAT UP AND IF IT'S REAL WE CAN 9947 06:46:13,682 --> 06:46:14,550 INCLUDE IT. 9948 06:46:14,616 --> 06:46:16,251 THE IDEA THAT YEAH, I CAN 9949 06:46:16,318 --> 06:46:18,153 TOTALLY SEE AND THIS IS ONE OF 9950 06:46:18,220 --> 06:46:19,922 THE REASONS WHY I THINK 9951 06:46:19,988 --> 06:46:21,557 VACCINATION CAMPAIGNS ARE 9952 06:46:21,623 --> 06:46:25,160 SUCCESSFUL WHEN THEY BROUGHT ON 9953 06:46:25,227 --> 06:46:26,829 BY CELEBRITY MUSICIAN. 9954 06:46:26,895 --> 06:46:29,798 WHEN YOU THINK ABOUT THE BIG IN 9955 06:46:29,865 --> 06:46:33,168 THE AIDS MOVEMENT AND ALL THESE 9956 06:46:33,235 --> 06:46:38,474 BIG WAYS IN WHICH PUBLIC HEALTH 9957 06:46:38,540 --> 06:46:39,441 HAS BEEN WRITTEN ON THE SOLDIERS 9958 06:46:39,508 --> 06:46:42,344 OF GIANT MUSICIANS IF YOU'RE A 9959 06:46:42,411 --> 06:46:43,645 MUSICIAN WHEN RENE FLEMING TOLD 9960 06:46:43,712 --> 06:46:45,481 ME TO DO SOMETHING I DO IT. 9961 06:46:45,547 --> 06:46:46,482 I'M A HUGE FAN. 9962 06:46:46,548 --> 06:46:48,283 YOU FEEL LIKE YOU WANT TO BE 9963 06:46:48,350 --> 06:46:50,085 CLOSE TO THAT PERSON YOU ADMIRE 9964 06:46:50,152 --> 06:46:54,156 BECAUSE YOU ASSOCIATE YOUR OWN 9965 06:46:54,223 --> 06:46:58,861 IDENTITY AND VALUE STRUCTURE 9966 06:46:58,927 --> 06:47:00,195 WITH WHAT THEY'RE DOING. 9967 06:47:00,262 --> 06:47:02,131 >> SO TRADITIONALLY ACADEMICS 9968 06:47:02,197 --> 06:47:08,070 TEND TO HAVE THESE VERY NARROW 9969 06:47:08,137 --> 06:47:09,138 SILOS WITHIN WHICH THEY WORK. 9970 06:47:09,204 --> 06:47:12,808 FOR ALL OF US HERE THE WORK WE 9971 06:47:12,875 --> 06:47:14,543 DO IS DONE BY A LOT OF PEOPLE. 9972 06:47:14,610 --> 06:47:16,445 THERE'S MUSIC EDUCATORS. 9973 06:47:16,512 --> 06:47:19,948 THERE'S PSYCHO THERAPISTS, MUSIC 9974 06:47:20,015 --> 06:47:23,085 THERAPISTS AND THERE'S COGNITIVE 9975 06:47:23,152 --> 06:47:23,418 PSYCHOLOGISTS. 9976 06:47:23,485 --> 06:47:26,088 PEOPLE WHO STUDY DANCE. 9977 06:47:26,155 --> 06:47:29,191 DANCE IS DEPENDENT ON MUSIC AND 9978 06:47:29,258 --> 06:47:31,260 WITHIN THE PSYCHOLOGY 9979 06:47:31,326 --> 06:47:34,863 NEUROSCIENCE, SOCIAL PSYCHOLOGY 9980 06:47:34,930 --> 06:47:36,398 AND COGNITIVE NEUROSCIENCE AND 9981 06:47:36,465 --> 06:47:38,834 COGNITIVE PSYCHOLOGY AND 9982 06:47:38,901 --> 06:47:39,968 CLINICAL PSYCHOLOGY. 9983 06:47:40,035 --> 06:47:44,807 ALL OF US PUBLISH IN DIFFERENT 9984 06:47:44,873 --> 06:47:45,541 JOURNALS AND HAVE DIFFERENT 9985 06:47:45,607 --> 06:47:45,841 CONFERENCES. 9986 06:47:45,908 --> 06:47:47,442 WHAT DO WE DO TO BRING IT 9987 06:47:47,509 --> 06:47:47,743 TOGETHER? 9988 06:47:47,810 --> 06:47:49,845 DO WE NEED A BIG 9989 06:47:49,912 --> 06:47:51,713 INTERDISCIPLINARY JOURNAL OR 9990 06:47:51,780 --> 06:47:52,014 CONFERENCE? 9991 06:47:52,080 --> 06:47:52,748 I DON'T KNOW. 9992 06:47:52,815 --> 06:47:57,753 BY THE WAY, THERE'S A WONDERFUL 9993 06:47:57,820 --> 06:47:58,821 JOURNAL MEDICAL PROBLEMS OF 9994 06:47:58,887 --> 06:48:00,789 PERFORMING ARTISTS. 9995 06:48:00,856 --> 06:48:02,057 IT'S A GREAT JOURNAL AND NONE OF 9996 06:48:02,124 --> 06:48:03,458 THOSE PEOPLE TALK TO THE REST OF 9997 06:48:03,525 --> 06:48:04,193 US MOST THE TIME SO WHAT'S THE 9998 06:48:04,259 --> 06:48:14,403 ANSWER? 9999 06:48:38,460 --> 06:48:42,297 >> I CAN START TO MAKE 10000 06:48:42,364 --> 06:48:44,299 CONNECTIONS BECAUSE I KNOW 10001 06:48:44,366 --> 06:48:45,434 ACADEMIC ADMINISTRATORS 10002 06:48:45,500 --> 06:48:49,872 CONSTANTLY TALK ABOUT THE 10003 06:48:49,938 --> 06:48:54,443 PROMISE OF INTERDISCIPLINE AND 10004 06:48:54,509 --> 06:48:56,345 THERE'S A FUNDING COMPONENT TO 10005 06:48:56,411 --> 06:48:57,212 IT. 10006 06:48:57,279 --> 06:48:59,214 EXTERNALLY FUNDED RESEARCH AND 10007 06:48:59,281 --> 06:49:00,449 MUSIC EDUCATION USED TO 10008 06:49:00,515 --> 06:49:02,951 LITERALLY BE AN OXYMORON. 10009 06:49:03,018 --> 06:49:07,923 AND IT'S NOT BECAUSE OF SUNIL 10010 06:49:07,990 --> 06:49:10,726 IYENGAR AND I'M GOING TO 10011 06:49:10,792 --> 06:49:11,894 PUBLICLY THANK HIM. 10012 06:49:11,960 --> 06:49:13,195 >> I SHOULD ADD THERE'S A COUPLE 10013 06:49:13,262 --> 06:49:15,797 OTHER PEOPLE WE SHOULD TALK TO, 10014 06:49:15,864 --> 06:49:19,434 LINGUISTS AND AANTHROPOLOGISTS 10015 06:49:19,501 --> 06:49:21,670 WHO DO THE CROSS-CULTURAL WORK. 10016 06:49:21,737 --> 06:49:22,905 WE ALL SHOULD BE WORKING 10017 06:49:22,971 --> 06:49:23,472 TOGETHER TOWARDS THE COMMON 10018 06:49:23,538 --> 06:49:29,711 GOAL. 10019 06:49:29,778 --> 06:49:32,047 >> I WANT TO GIVE A SHOUT OUT TO 10020 06:49:32,114 --> 06:49:38,854 DIVERSION 10 OF THE AMERICAN 10021 06:49:38,921 --> 06:49:41,156 PSYCHOLOGICAL ASSOCIATION AND WE 10022 06:49:41,223 --> 06:49:44,927 PUBLISH INTERDISCIPLINARY WORK 10023 06:49:44,993 --> 06:49:45,527 FROM MUSICIANS DOING CASE 10024 06:49:45,594 --> 06:49:47,429 STUDIES AND QUALITATIVE STUDIES 10025 06:49:47,496 --> 06:49:49,798 IN THEIR CLASSROOMS THROUGH TO 10026 06:49:49,865 --> 06:49:55,270 LARGE SCALE MEDICAL RCTs. 10027 06:49:55,337 --> 06:49:57,205 BUT I DO THINK IT HAS SOMETHING 10028 06:49:57,272 --> 06:50:00,208 TO DO WITH THE FUNDING STRUCTURE 10029 06:50:00,275 --> 06:50:01,810 AS WELL AND INTERDISCIPLINARY 10030 06:50:01,877 --> 06:50:02,811 FUNDING WHERE THERE'S 10031 06:50:02,878 --> 06:50:04,413 PARTNERSHIPS THROUGH PLACES LIKE 10032 06:50:04,479 --> 06:50:07,449 THE NIH AND THE NATIONAL 10033 06:50:07,516 --> 06:50:09,284 ENDOWMENT FOR THE ARTS 10034 06:50:09,351 --> 06:50:10,285 INDIVIDUAL PRIVATE FOUNDATIONS 10035 06:50:10,352 --> 06:50:11,687 INTERESTED IN THIS KIND OF WORK 10036 06:50:11,753 --> 06:50:13,889 I THINK THE KEY THING TO KEEP IN 10037 06:50:13,956 --> 06:50:16,591 MIND IS THAT EVERY STUDY I SAY 10038 06:50:16,658 --> 06:50:17,659 THIS TO MY GRADUATE STUDENTS ALL 10039 06:50:17,726 --> 06:50:20,329 THE TIME, EVERY STUDY IS ONE 10040 06:50:20,395 --> 06:50:21,630 PIECE OF A THOUSAND PIECE 10041 06:50:21,697 --> 06:50:21,863 PUZZLE. 10042 06:50:21,930 --> 06:50:24,399 KEEPING THAT IN MIND AS WE 10043 06:50:24,466 --> 06:50:28,170 PROPOSE OUR SCIENCE, CONDUCT AND 10044 06:50:28,236 --> 06:50:30,038 PROPOSE AND WRITE ABOUT OUR 10045 06:50:30,105 --> 06:50:40,649 SCIENCE IS IMPORTANT FOR INTER 10046 06:50:42,551 --> 06:50:49,157 DISCIPLINE AND SO KEEPING THAT 10047 06:50:49,224 --> 06:50:50,425 IN MIND AND NOT TRYING TO OVER 10048 06:50:50,492 --> 06:50:54,396 CLAIM I THINK IS CRITICAL GOING 10049 06:50:54,463 --> 06:51:04,673 FORWARD TOO. 10050 06:51:07,542 --> 06:51:09,378 >> AND THERE'S MORE DIVERSE AND 10051 06:51:09,444 --> 06:51:11,780 VARIOUS TYPES OF JOURNALS AND I 10052 06:51:11,847 --> 06:51:14,816 THINK IT COULD BE MORE 10053 06:51:14,883 --> 06:51:16,752 DELIBERATIVE AND INTENTIONAL IN 10054 06:51:16,818 --> 06:51:22,090 THINKING ABOUT JOHN'S TERM 10055 06:51:22,157 --> 06:51:23,825 NESTING IN JOURNALS. 10056 06:51:23,892 --> 06:51:26,828 I KNOW I'M MAKING IT SOUND EASY 10057 06:51:26,895 --> 06:51:29,398 I KNOW IT'S NOT AND SHOUT OUT TO 10058 06:51:29,464 --> 06:51:31,867 THE FACT IN TERMS OF AGGREGATORS 10059 06:51:31,933 --> 06:51:36,405 TO THE RESEARCH IN TERMS OF THE 10060 06:51:36,471 --> 06:51:39,374 SOUND NETWORK YOU HAVE ARTS IN A 10061 06:51:39,441 --> 06:51:40,042 CAPACIOUS WAY. 10062 06:51:40,108 --> 06:51:43,445 THERE'S MORE OF THIS KIND OF 10063 06:51:43,512 --> 06:51:48,817 INTER DISCIPDISCIPLINARY AND TR 10064 06:51:48,884 --> 06:51:50,185 DISCIPLINARY WORK GOING FORWARD. 10065 06:51:50,252 --> 06:51:51,653 >> I'D LIKE TO COMMENT FOR 10066 06:51:51,720 --> 06:51:54,289 SOMETHING TO BE TAKEN BY SCHOOLS 10067 06:51:54,356 --> 06:51:57,726 OR MAKE AN IMPACT THEY'RE NOT 10068 06:51:57,793 --> 06:51:59,795 NECESSARILY LOOKING AT ACADEMIC 10069 06:51:59,861 --> 06:52:00,328 PUBLICATIONS AND THAT IS 10070 06:52:00,395 --> 06:52:09,738 SOMETHING TO THINK ABOUT. 10071 06:52:09,805 --> 06:52:12,774 >> IN TERMS OF A UNIVERSITY 10072 06:52:12,841 --> 06:52:14,276 ADMINISTRATOR TO SEE VALUE IN 10073 06:52:14,342 --> 06:52:16,078 THIS. 10074 06:52:16,144 --> 06:52:18,146 I DON'T FIT IN MY DEPARTMENT I 10075 06:52:18,213 --> 06:52:18,947 HANG OUT AT THE MUSIC DEPARTMENT 10076 06:52:19,014 --> 06:52:21,516 AND BRINGING THAT ATTENTION TO 10077 06:52:21,583 --> 06:52:24,386 ME DEAN AND PROVOST AND A 10078 06:52:24,453 --> 06:52:28,623 COALITION OF FACULTY TOGETHER 10079 06:52:28,690 --> 06:52:32,094 FROM OUR MEDICAL SCHOOL OR 10080 06:52:32,160 --> 06:52:34,830 ENGINEERING WE'RE ALL SOMEHOW 10081 06:52:34,896 --> 06:52:37,265 INTERESTED IN MUSIC RESEARCH AND 10082 06:52:37,332 --> 06:52:38,834 ASKED FOR ADDITIONAL FUNDING TO 10083 06:52:38,900 --> 06:52:40,168 GET TOGETHER AND WRITE RESEARCH. 10084 06:52:40,235 --> 06:52:42,404 I THINK BRINGING ATTENTION TO 10085 06:52:42,471 --> 06:52:46,842 THE NATURE OF THE INT 10086 06:52:46,908 --> 06:52:50,846 INTERDISCIPLINARY WORK AND HOW 10087 06:52:50,912 --> 06:52:52,948 EVENTUALLY IT WILL BRING REVENUE 10088 06:52:53,014 --> 06:52:54,416 AND ATTENTION TO THE UNIVERSITY 10089 06:52:54,483 --> 06:52:55,917 NEEDS ADVOCACY BUT IS POSSIBLE. 10090 06:52:55,984 --> 06:52:57,853 >> AND WE'RE FINDING A COMMON 10091 06:52:57,919 --> 06:52:58,120 LANGUAGE. 10092 06:52:58,186 --> 06:53:00,055 I THINK THAT'S ONE OF THE THINGS 10093 06:53:00,122 --> 06:53:02,157 THAT'S VERY IMPORTANT ABOUT 10094 06:53:02,224 --> 06:53:02,357 TODAY. 10095 06:53:02,424 --> 06:53:03,825 BRINGING TOGETHER ARTISTS AND 10096 06:53:03,892 --> 06:53:05,861 SCIENTISTS TOGETHER AND WHEN THE 10097 06:53:05,927 --> 06:53:06,828 SCIENTISTS TALK ABOUT SCIENCE 10098 06:53:06,895 --> 06:53:09,197 THE ARTISTS CAN UNDERSTAND AND 10099 06:53:09,264 --> 06:53:10,932 WHEN THE PHYSICIAN TALK ABOUT 10100 06:53:10,999 --> 06:53:12,167 SCIENCE, THEY CAN UNDERSTAND. 10101 06:53:12,234 --> 06:53:15,437 WE HAVE TO CONTINUE TO WORK TO 10102 06:53:15,504 --> 06:53:19,274 CREATE THAT VOCABULARY WE CAN 10103 06:53:19,341 --> 06:53:19,541 SAR. 10104 06:53:19,608 --> 06:53:27,349 >> I WAS GOING TO SAY WHAT SUNIL 10105 06:53:27,415 --> 06:53:29,751 SAID THERE'S A NETWORK AND WHAT 10106 06:53:29,818 --> 06:53:30,886 WE LEARNED IN WORKING IN THE 10107 06:53:30,952 --> 06:53:32,988 SOUND HEALTH NETWORK THE LAST 10108 06:53:33,054 --> 06:53:36,124 YEARS YOU HAVE TO MAKE A 10109 06:53:36,191 --> 06:53:38,960 CONCERTED EFFORT TO BRING PEOPLE 10110 06:53:39,027 --> 06:53:41,763 ACROSS DISCIPLINES AND HAVE A 10111 06:53:41,830 --> 06:53:42,097 CONVERSATION. 10112 06:53:42,164 --> 06:53:46,835 IT DOESN'T HAPPEN ORGANICALLY. 10113 06:53:46,902 --> 06:53:49,638 THERE HAS TO BE AN ORGANIZATION 10114 06:53:49,704 --> 06:53:50,605 AND DOCUMENT THE CONVERSATION 10115 06:53:50,672 --> 06:53:52,340 AND COME AWAY WITH TAKEAWAYS. 10116 06:53:52,407 --> 06:53:54,809 I THINK SOMETIMES THAT WORK 10117 06:53:54,876 --> 06:53:56,444 ISN'T AS RECOGNIZED BECAUSE IT'S 10118 06:53:56,511 --> 06:53:59,314 NOT AS EASILY QUANTIFIABLE AS 10119 06:53:59,381 --> 06:54:00,415 PUBLICATIONS OR AMOUNT OF 10120 06:54:00,482 --> 06:54:02,083 FUNDING BUT JUST AS IMPORTANT 10121 06:54:02,150 --> 06:54:05,720 AND WHEN I LOOK AT THE THINGS 10122 06:54:05,787 --> 06:54:08,456 THAT HAVE HAPPENED THERE'S 10123 06:54:08,523 --> 06:54:10,825 SILENT FORCES THAT HAVE BEEN 10124 06:54:10,892 --> 06:54:14,663 WORKING ON THAT. 10125 06:54:14,729 --> 06:54:18,633 >> WE'VE GOT TIME FOR ONE MORE 10126 06:54:18,700 --> 06:54:22,537 QUESTION. 10127 06:54:22,604 --> 06:54:25,974 >> I WANT TO THANK ALL THE 10128 06:54:26,041 --> 06:54:28,143 PEOPLE IN THE PANEL. 10129 06:54:28,210 --> 06:54:29,811 IT'S A VERY EXCITING VARIETY OF 10130 06:54:29,878 --> 06:54:30,979 WORK IN MUSIC EDUCATION. 10131 06:54:31,046 --> 06:54:33,682 I THINK THERE'S OBVIOUSLY MORE 10132 06:54:33,748 --> 06:54:35,250 THAN ONE KIND OF MUSIC EDUCATION 10133 06:54:35,317 --> 06:54:36,885 AND WHAT HAPPENS WHEN A CHILD 10134 06:54:36,952 --> 06:54:38,620 LEARNS MUSIC IS THEY'RE 10135 06:54:38,687 --> 06:54:40,422 INTEGRATING ALL THEIR SENSES 10136 06:54:40,488 --> 06:54:42,357 SOMATO SENSORY, VISUAL, 10137 06:54:42,424 --> 06:54:44,125 AUDITORY, COGNITIVE SKILLS AND 10138 06:54:44,192 --> 06:54:46,628 THIS INTEGRATION PLAYS A HUGE 10139 06:54:46,695 --> 06:54:48,396 ROLE IN CHILD DEVELOPMENT IN A 10140 06:54:48,463 --> 06:54:50,031 BROAD SENSE OF THE WORD. 10141 06:54:50,098 --> 06:54:52,467 AND ONE OF THE THINGS I'M 10142 06:54:52,534 --> 06:54:54,569 CURIOUS ABOUT TWOFOLD IS TURNING 10143 06:54:54,636 --> 06:54:57,339 TO JOHN'S PRESENTATION WITH ABCD 10144 06:54:57,405 --> 06:54:59,841 DATA SET WHICH IS HUGE. 10145 06:54:59,908 --> 06:55:02,444 WHAT ARE THE MOST PROFOUND AND 10146 06:55:02,510 --> 06:55:04,212 STRIKING EFFECTS WE TALKED ABOUT 10147 06:55:04,279 --> 06:55:07,682 FOR THE INTELLIGENCE AND THAT'S 10148 06:55:07,749 --> 06:55:07,983 ABSTRACT. 10149 06:55:08,049 --> 06:55:10,118 WE'VE HEARD A LITTLE BIT ABOUT 10150 06:55:10,185 --> 06:55:11,620 WHETHER OR NOT USING EDUCATION 10151 06:55:11,686 --> 06:55:13,555 HELPS KIDS STAY IN SCHOOL AND SO 10152 06:55:13,622 --> 06:55:14,990 FORTH AND I WONDER WHETHER OR 10153 06:55:15,056 --> 06:55:18,793 NOT WE CAN PULL OUT WHAT THE 10154 06:55:18,860 --> 06:55:21,496 MOST CLEAR OUTCOME ARE AND 10155 06:55:21,563 --> 06:55:22,831 REALLY TRY TO UNDERSTAND WHY 10156 06:55:22,897 --> 06:55:26,134 THESE OUTCOMES EMERGE AND WONDER 10157 06:55:26,201 --> 06:55:28,270 IF YOU CAN SAY A FEW THINGS 10158 06:55:28,336 --> 06:55:32,540 ABOUT THAT AND IMPRESSED BY EL 10159 06:55:32,607 --> 06:55:34,909 SYSTEMA RA REPLICATED IN THE 10160 06:55:34,976 --> 06:55:36,845 U.S. AND STARTED IN COLOMBIA AND 10161 06:55:36,911 --> 06:55:39,381 HAD A HUGE IMPACT ON THE KIDS 10162 06:55:39,447 --> 06:55:40,915 AND THE COMMUNITY AND THROWING 10163 06:55:40,982 --> 06:55:42,183 IT OUT TO ANYONE ON THE PANEL 10164 06:55:42,250 --> 06:55:45,220 WHO WANTS TO ADDRESS THAT. 10165 06:55:45,287 --> 06:55:48,423 >> WE'VE REALLY JUST STICK TO 10166 06:55:48,490 --> 06:55:52,861 THE LOWEST HANGING FRUIT FOR 10167 06:55:52,927 --> 06:55:53,094 ABCD. 10168 06:55:53,161 --> 06:55:54,396 THERE'S 10,000 VARIABLES. 10169 06:55:54,462 --> 06:55:59,434 PLEASE START LOOKING. 10170 06:55:59,501 --> 06:56:00,735 ALL OF US. 10171 06:56:00,802 --> 06:56:02,837 BUT I THINK THAT'S THE ONE 10172 06:56:02,904 --> 06:56:03,838 APPROACH. 10173 06:56:03,905 --> 06:56:06,074 THE OTHER APPROACH IS TO THINK 10174 06:56:06,141 --> 06:56:08,310 ABOUT OUR PRIORITY AND WHAT 10175 06:56:08,376 --> 06:56:09,511 AFFECTS YOU THINK THERE MIGHT BE 10176 06:56:09,577 --> 06:56:13,081 AND THERE'S A DISCONNECT IN WHAT 10177 06:56:13,148 --> 06:56:17,052 A STUDY LIKE THAT MEASURES AND 10178 06:56:17,118 --> 06:56:18,386 SOME THINGS THAT WE'RE TRULY 10179 06:56:18,453 --> 06:56:19,487 INTERESTED IN AND FINDING THE 10180 06:56:19,554 --> 06:56:21,556 LINK IS ANOTHER KEY ELEMENT HOW 10181 06:56:21,623 --> 06:56:26,795 TO TAKE THESE ATOMIC MEASURES 10182 06:56:26,861 --> 06:56:29,030 AND HOW DOES THAT FIT INTO A 10183 06:56:29,097 --> 06:56:29,998 HEALTHY, HAPPY PERSON. 10184 06:56:30,065 --> 06:56:32,467 AND I WOULD SAY THE THIRD THING 10185 06:56:32,534 --> 06:56:34,469 IS IF YOU DON'T MEASURE IT, YOU 10186 06:56:34,536 --> 06:56:35,804 DON'T KNOW IT. 10187 06:56:35,870 --> 06:56:40,308 TO THE EXTENT I TALKED ABOUT 10188 06:56:40,375 --> 06:56:43,578 MUSIC AS THE NUMBER OF HOURS OF 10189 06:56:43,645 --> 06:56:45,280 MUSIC IS EQUIVALENT THAT'S NOT 10190 06:56:45,347 --> 06:56:45,513 TRUE. 10191 06:56:45,580 --> 06:56:53,388 THE MORE TEXTURE WE CAN GET WE 10192 06:56:53,455 --> 06:56:58,893 CAN GET TO THE COMPONENTS OF 10193 06:56:58,960 --> 06:57:00,729 MUSICALITY AND SEE THE 10194 06:57:00,795 --> 06:57:02,697 COMPONENTS OF MUSIC. 10195 06:57:02,764 --> 06:57:04,799 THAT'S JUST A CALL TO MEASURE 10196 06:57:04,866 --> 06:57:15,009 THINGS IN DETAIL. 10197 06:57:15,076 --> 06:57:22,817 >> ALL RIGHT. 10198 06:57:22,884 --> 06:57:24,753 IS THERE ONE FINAL THOUGHT? 10199 06:57:24,819 --> 06:57:28,289 WE NEED TO WRAP UP WITH SUNIL OR 10200 06:57:28,356 --> 06:57:32,861 WILL SHELLY TAKE US OUT. 10201 06:57:32,927 --> 06:57:34,829 >> THANK YOU FOR THE CHO CHAIRS 10202 06:57:34,896 --> 06:57:36,131 AND PANELISTS AND SPEAKERS AND 10203 06:57:36,197 --> 06:57:37,232 WE DIDN'T GIVE YOU AN 10204 06:57:37,298 --> 06:57:39,968 INTRODUCTION PER SE BUT SO YOU 10205 06:57:40,034 --> 06:57:42,404 KNOW, TONY HIMSELF IS A 10206 06:57:42,470 --> 06:57:44,272 MUSICIAN, COMPOSER AND 10207 06:57:44,339 --> 06:57:45,073 RESEARCHER IN CREATIVITY. 10208 06:57:45,140 --> 06:57:46,841 GREAT TO BE ABLE TO SHARE THE 10209 06:57:46,908 --> 06:57:48,410 PANEL WITH HIM. 10210 06:57:48,476 --> 06:57:54,783 THANK YOU SO MUCH, EVERYONE. 10211 06:57:54,849 --> 06:57:57,919 >> I WATCH THE TO THANK OUR 10212 06:57:57,986 --> 06:57:58,620 SESSION 3. 10213 06:57:58,686 --> 06:58:00,188 YOU CAN EXIT. 10214 06:58:00,255 --> 06:58:01,322 WE'RE GOING TO BE HAVING ONE 10215 06:58:01,389 --> 06:58:03,792 FINAL SET OF SPECIAL REMARKS SO 10216 06:58:03,858 --> 06:58:05,560 IF YOU CAN GO AHEAD AND EXIT 10217 06:58:05,627 --> 06:58:06,828 QUICKLY IF YOU WANT TO LEAVE THE 10218 06:58:06,895 --> 06:58:08,696 TABLES. 10219 06:58:08,763 --> 06:58:12,300 I WANT TO THANK OUR SESSION 3 10220 06:58:12,367 --> 06:58:13,768 PARTICIPANTS, OUR CO-CHAIRS WHO 10221 06:58:13,835 --> 06:58:15,303 DID A FABULOUS JOB AND MUSICIANS 10222 06:58:15,370 --> 06:58:18,540 AND SPEAKERS AND PANELISTS. 10223 06:58:18,606 --> 06:58:20,041 IT WAS A WONDERFUL SESSION AND 10224 06:58:20,108 --> 06:58:22,243 NOW WE'RE ACTUALLY GOING TO 10225 06:58:22,310 --> 06:58:24,279 BRING THE DAY TO A CLOSE WITH A 10226 06:58:24,345 --> 06:58:29,951 FEW SPECIAL REMARKS BY DR. JULIE 10227 06:58:30,018 --> 06:58:31,186 GERBERDING THE CHIEF EXECUTIVE 10228 06:58:31,252 --> 06:58:32,287 OFFICER FOR THE FOUNDATION FOR 10229 06:58:32,353 --> 06:58:33,588 THE NATIONAL INSTITUTES OF 10230 06:58:33,655 --> 06:58:34,823 HEALTH. 10231 06:58:34,889 --> 06:58:39,761 PLEASE TAKE IT AWAY. 10232 06:58:39,828 --> 06:58:42,363 >> THANK YOU. 10233 06:58:42,430 --> 06:58:44,365 WHAT AN INCREDIBLE AND INSPIRING 10234 06:58:44,432 --> 06:58:44,532 DAY. 10235 06:58:44,599 --> 06:58:46,267 I APPRECIATE ALL THE 10236 06:58:46,334 --> 06:58:47,702 PARTICIPANTS, THE PRESENTATIONS 10237 06:58:47,769 --> 06:58:51,139 AND ESPECIALLY THE PERFORMERS. 10238 06:58:51,206 --> 06:58:53,041 IT WAS BRILLIANT AND A LITTLE 10239 06:58:53,107 --> 06:58:54,375 BIT HARD TO TAKE IT ALL IN. 10240 06:58:54,442 --> 06:58:57,479 I'VE HAD A BIG INSIGHT JUST 10241 06:58:57,545 --> 06:58:58,446 SIGNATURE HERE THROUGHOUT THE 10242 06:58:58,513 --> 06:59:03,952 DAY BECAUSE I GREW UP IN RURAL 10243 06:59:04,018 --> 06:59:05,186 SOUTH DAKOTA NOT EXACTLY THE 10244 06:59:05,253 --> 06:59:07,422 MECCA OF CULTURE IN MANY 10245 06:59:07,489 --> 06:59:10,825 PEOPLE'S MINDS BUT BLESSED TO 10246 06:59:10,892 --> 06:59:18,399 GROW UP IN A MUSICALLY RICH 10247 06:59:18,466 --> 06:59:22,036 ENVIRONMENT AND MY GRANDMOTHER 10248 06:59:22,103 --> 06:59:25,640 RAISED CHILDREN WHO ALL PLAYED 10249 06:59:25,707 --> 06:59:26,808 INSTRUMENT AND THEY TAUGHT ME 10250 06:59:26,875 --> 06:59:29,143 EVERY NURSERY SONG YOU COULD 10251 06:59:29,210 --> 06:59:30,044 POSSIBLY WANT TO KNOW. 10252 06:59:30,111 --> 06:59:32,847 GOT PIANO LESSONS WHEN I WAS 10253 06:59:32,914 --> 06:59:40,989 FIVE AND NOT SO SUCCESSFULLY AND 10254 06:59:41,055 --> 06:59:43,424 I DID PLAY IN BAND AND ORCHESTRA 10255 06:59:43,491 --> 06:59:47,562 AND TOOK IT FOR GRANTED. 10256 06:59:47,629 --> 06:59:49,397 I NEVER APPRECIATED THAT WAS 10257 06:59:49,464 --> 06:59:50,164 SPECIAL AND RARE. 10258 06:59:50,231 --> 06:59:53,468 WE HAD MUSIC IN EVERY CLASS IN 10259 06:59:53,535 --> 06:59:54,802 SCHOOL IN THIS TINY LITTLE TOWN 10260 06:59:54,869 --> 06:59:57,171 AND I PUT MYSELF THROUGH COLLEGE 10261 06:59:57,238 --> 07:00:02,810 BY WORKING AT GIRL SCOUT CAMPS 10262 07:00:02,877 --> 07:00:06,814 AROUND SOUTH DAKOTA AS THE MUSIC 10263 07:00:06,881 --> 07:00:10,485 PERSON PLAYING THE UKULELE AT 10264 07:00:10,552 --> 07:00:14,556 CAMP FIRES ON AN EVENING BASIS. 10265 07:00:14,622 --> 07:00:16,691 MUSIC IS A BLESSING BUT MANY 10266 07:00:16,758 --> 07:00:18,393 TAKE IT FOR GRANTED AND 10267 07:00:18,459 --> 07:00:19,494 LISTENING TO THE CONVERSATION 10268 07:00:19,561 --> 07:00:21,462 AND THE RICHNESS AND CONVERGENCE 10269 07:00:21,529 --> 07:00:23,431 OF THE EXPERTISE ACROSS 10270 07:00:23,498 --> 07:00:27,602 DISCIPLINES IN THE ROOM IS 10271 07:00:27,669 --> 07:00:28,002 MIRACULOUS. 10272 07:00:28,069 --> 07:00:31,072 I COULDN'T SUMMARIZE ALL I HEARD 10273 07:00:31,139 --> 07:00:33,174 AND SURE MY LEARNING CURVE WILL 10274 07:00:33,241 --> 07:00:33,708 REMAIN STEEP GOING INTO 10275 07:00:33,775 --> 07:00:35,276 TOMORROW'S SESSIONS. 10276 07:00:35,343 --> 07:00:37,812 THERE'S THREE POINTS I'M TAKING 10277 07:00:37,879 --> 07:00:39,581 AWAY AND WANTED TO SHARE THEM 10278 07:00:39,647 --> 07:00:41,616 WITH YOU. 10279 07:00:41,683 --> 07:00:44,419 THE FIRST IS THAT TRULY 10280 07:00:44,485 --> 07:00:48,623 UNDERSTANDING THE SCIENCE OF 10281 07:00:48,690 --> 07:00:52,093 MUSIC AND MEDICINE IS AN 10282 07:00:52,160 --> 07:00:53,394 IMPERATIVE AND NOT JUST A NICE 10283 07:00:53,461 --> 07:00:54,829 THING TO DO AND UNDERSTANDING 10284 07:00:54,896 --> 07:00:56,197 THE CONNECTION BETWEEN NEURONS 10285 07:00:56,264 --> 07:01:02,837 AND NOTES AND NOCTURNS ALLOWS 10286 07:01:02,904 --> 07:01:12,614 THE PROBING OF SO MANY 10287 07:01:12,680 --> 07:01:16,551 DIMENSIONS, MENTAL HEALTH, 10288 07:01:16,618 --> 07:01:21,889 COGNITIVE FUNCTIONING, ETCETERA. 10289 07:01:21,956 --> 07:01:32,266 THEY'RE ALL FOUNDATION AL 10290 07:01:32,333 --> 07:01:38,840 ATTRIBUTES AND WE HAVE A 10291 07:01:38,906 --> 07:01:43,478 REMARKABLE AND INSIGHTS WE 10292 07:01:43,544 --> 07:01:45,346 COULDN'T DO WITHOUT THE PROBE. 10293 07:01:45,413 --> 07:01:50,151 THE SECOND TAKEAWAY FOR ME IS I 10294 07:01:50,218 --> 07:01:52,620 THINK IMMERSION OR ACCESS TO 10295 07:01:52,687 --> 07:01:53,354 MUSIC AND MUSIC EDUCATION SHOULD 10296 07:01:53,421 --> 07:01:58,192 BE LOOKED AT AS A SOCIAL 10297 07:01:58,259 --> 07:01:58,893 DETERMINATE OF HEALTH AND 10298 07:01:58,960 --> 07:01:59,260 WELL-BEING. 10299 07:01:59,327 --> 07:02:04,065 AS WE LOOK AT THE OTHER SOCIAL 10300 07:02:04,132 --> 07:02:05,767 DETERMINATES AND UNDERSTAND THE 10301 07:02:05,833 --> 07:02:06,401 INCREDIBLE INEQUITIES IN OUR 10302 07:02:06,467 --> 07:02:09,804 SOCIETY IT'S A FOUNDATIONAL 10303 07:02:09,871 --> 07:02:13,074 INDICATOR AT LEAST AT THE ACCESS 10304 07:02:13,141 --> 07:02:16,044 THAT ALLOWS PEOPLE TO LIVE 10305 07:02:16,110 --> 07:02:17,478 HEALTHY AND PRODUCTIVE LIVES AND 10306 07:02:17,545 --> 07:02:19,847 THE FACT SO CHILDREN ARE MISSING 10307 07:02:19,914 --> 07:02:22,583 THIS IN THEIR EARLIEST STAGES 10308 07:02:22,650 --> 07:02:24,452 BECAUSE THEIR CARETAKERS ARE 10309 07:02:24,519 --> 07:02:26,421 UNABLE OR CAN'T PROVIDE IT AND 10310 07:02:26,487 --> 07:02:29,223 DAY CARES AWITH NO MUSIC 10311 07:02:29,290 --> 07:02:29,490 PROGRAMS. 10312 07:02:29,557 --> 07:02:30,725 I LIVED IN SAN FRANCISCO FOR A 10313 07:02:30,792 --> 07:02:31,926 LONG TIME ACROSS THE STREET FROM 10314 07:02:31,993 --> 07:02:37,965 A MIDDLE SCHOOL AND GOT MY DREAM 10315 07:02:38,032 --> 07:02:42,270 FLUTE AND WANTED DONATE MY OLD 10316 07:02:42,336 --> 07:02:44,639 ONE AND CALLED AND SAID I'D LIKE 10317 07:02:44,706 --> 07:02:49,377 TO CONTRIBUTE THEM AND SAID WE 10318 07:02:49,444 --> 07:02:50,411 DON'T HAVE A MUSIC PROGRAM I 10319 07:02:50,478 --> 07:02:55,650 WOULDN'T KNOW WHAT TO DO WITH 10320 07:02:55,717 --> 07:02:55,850 THEM. 10321 07:02:55,917 --> 07:02:58,820 IT BROKE MY HEART AND I NEVER 10322 07:02:58,886 --> 07:03:01,089 THOUGHT KIDS DIDN'T HAVE ACCESS 10323 07:03:01,155 --> 07:03:02,857 TO MUSIC AND NEED TO THINK OF 10324 07:03:02,924 --> 07:03:06,327 MUSIC PROGRAMS AS AN 10325 07:03:06,394 --> 07:03:06,627 OPPORTUNITY. 10326 07:03:06,694 --> 07:03:09,330 I PREDICT THOUGH I DON'T HAVE 10327 07:03:09,397 --> 07:03:12,400 THE DATA AT A RELEVANT PRICE 10328 07:03:12,467 --> 07:03:14,836 POINTLESS EXPENSIVE THAN FIXING 10329 07:03:14,902 --> 07:03:15,770 THE OTHER SOCIAL DETERMINATES OF 10330 07:03:15,837 --> 07:03:18,039 HEALTH THAT ARE VITAL THIS WOULD 10331 07:03:18,106 --> 07:03:20,808 BE A BARGAIN PROBABLY PAY FOR 10332 07:03:20,875 --> 07:03:22,543 ITSELF OVER AND OVER AGAIN IN 10333 07:03:22,610 --> 07:03:25,613 ALL OF THE PLACES WHERE PEOPLE 10334 07:03:25,680 --> 07:03:26,814 LIVE, WORK, AGE AND RECEIVE 10335 07:03:26,881 --> 07:03:30,318 HEALTH CARE. 10336 07:03:30,384 --> 07:03:31,552 AND ANOTHER POINT GOES BACK TO 10337 07:03:31,619 --> 07:03:35,656 THE DISCUSSION THIS MORNING YOU 10338 07:03:35,723 --> 07:03:38,326 BROUGHT UP IN Q&A ON THE ROLE OF 10339 07:03:38,392 --> 07:03:41,763 MUSIC AND MUSIC NARRATIVE AS A 10340 07:03:41,829 --> 07:03:42,029 CONNECTOR. 10341 07:03:42,096 --> 07:03:45,533 MUSIC IS AN INCREDIBLY POWERFUL 10342 07:03:45,600 --> 07:03:45,800 CONNECTOR. 10343 07:03:45,867 --> 07:03:48,636 I GO TO SAFARIS AT THE SAME 10344 07:03:48,703 --> 07:03:51,973 PLACE EVERY YEAR ONE PLACE I 10345 07:03:52,039 --> 07:03:52,173 LOVE. 10346 07:03:52,240 --> 07:03:55,743 WHEN I ARRIVE THERE I'M ALWAYS 10347 07:03:55,810 --> 07:03:58,613 GREETED WE THE LEADERS WHO DANCE 10348 07:03:58,679 --> 07:03:59,580 AND SING. 10349 07:03:59,647 --> 07:04:01,682 I HAVE NO IDEA WHAT THEY'RE 10350 07:04:01,749 --> 07:04:03,818 SAYING BUT THEY'RE SPEAKING 10351 07:04:03,885 --> 07:04:06,387 THEIR NATIVE LANGUAGE BUT I 10352 07:04:06,454 --> 07:04:07,789 UNDERSTAND WHAT THEY'RE 10353 07:04:07,855 --> 07:04:09,257 COMMUNICATING AND THE STORY 10354 07:04:09,323 --> 07:04:11,793 THEY'RE TELLING AND IT CONNECTS 10355 07:04:11,859 --> 07:04:14,128 ME TO THEM IN PROFOUND AND 10356 07:04:14,195 --> 07:04:15,263 POWERFUL WAYS AND NOW BECAUSE 10357 07:04:15,329 --> 07:04:17,498 I'VE KNOWN MANY FOR A LONG TIME 10358 07:04:17,565 --> 07:04:19,267 IT'S A COMING HOME EXPERIENCE 10359 07:04:19,333 --> 07:04:27,542 THAT JUST MAKES ME -- I'M NOT 10360 07:04:27,608 --> 07:04:29,110 ZIMBABWEAN BUT I REMEMBER BEING 10361 07:04:29,177 --> 07:04:30,578 IN SOUTH AFRICA AND EXPERIENCING 10362 07:04:30,645 --> 07:04:33,047 THE SOUTH AFRICAN NATIONAL 10363 07:04:33,114 --> 07:04:34,215 ANTHEMAN 10364 07:04:34,282 --> 07:04:35,583 THEM FOR THE FIRST TIME WHICH IS 10365 07:04:35,650 --> 07:04:40,822 A SYNTHESIS OF THREE LANGUAGES 10366 07:04:40,888 --> 07:04:41,656 SYMBOLICALLY REPRESENTING THE 10367 07:04:41,722 --> 07:04:43,891 CHANGE OF SOUTH AFRICA WHEN IT 10368 07:04:43,958 --> 07:04:45,960 ENDED APARTHEID, ETCETERA. 10369 07:04:46,027 --> 07:04:50,331 THOSE ARE SMALL EXAMPLES BUT 10370 07:04:50,398 --> 07:04:54,035 MUSIC IS TRANSCENDENT AND 10371 07:04:54,101 --> 07:04:55,336 REMINDS US WE DON'T HAVE TO BE 10372 07:04:55,403 --> 07:04:55,803 TRIBAL. 10373 07:04:55,870 --> 07:04:57,638 WE BELONG TO THE HUMAN TRIBE AND 10374 07:04:57,705 --> 07:04:59,373 CAN ALL SING FROM THE SAME SHEET 10375 07:04:59,440 --> 07:05:00,374 OF MUSIC. 10376 07:05:00,441 --> 07:05:02,610 I'LL LEAVE YOU WITH THOSE THREE 10377 07:05:02,677 --> 07:05:04,178 THOUGHTS AND GREAT THANK YOU TO 10378 07:05:04,245 --> 07:05:07,682 OUR CO-CHAIRS, FRANCIS AND RENE. 10379 07:05:07,748 --> 07:05:10,818 THANK YOU FOR YOUR INSPIRATION 10380 07:05:10,885 --> 07:05:13,921 AND WISDOM. 10381 07:05:13,988 --> 07:05:18,392 ALSO, TO THE KENNEDY CENTER, THE 10382 07:05:18,459 --> 07:05:19,760 NATIONAL ENDOWMENT OF THE ARTS 10383 07:05:19,827 --> 07:05:22,363 AND TO ALL THE ACADEMITIONS AND 10384 07:05:22,430 --> 07:05:24,198 LEADERS AND PERFORMERS AND 10385 07:05:24,265 --> 07:05:24,866 PEOPLE HERE CONTRIBUTING SO MUCH 10386 07:05:24,932 --> 07:05:28,669 LEARNING FOR ALL OF US. 10387 07:05:28,736 --> 07:05:32,039 ENJOY THE EVENING AND LOOK 10388 07:05:32,106 --> 07:05:34,809 FORWARD TO SEEING YOU TOMORROW. 10389 07:05:34,876 THANK YOU.