GOOD MORNING, EVERYONE.
IT'S 9:00 A.M.
THE NATIONAL ENDOWMENT FOR THE
ARTS, THE RENEE FLEMING
FOUNDATION, AND THE JOHN F.
KENNEDY CENTER FOR THE
PERFORMING ARTS.
I WANT TO WELCOME YOU TO DAY ONE
OF MUSIC AS MEDICINE, THE
SCIENCE AND CLINICAL PRACTICE.
WE'RE PLEASED TO HAVE MANY
VIEWERS JOINING US ON NIH
VIDEOCAST TODAY.
I WANT TO REMIND EVERYONE THAT
THE DIGITAL PROGRAM BOOK, WHICH
CONTAINS THE FULL AGENDA, B IOS
FOR PARTICIPANTS, ABSTRACTS FOR
THE TALKS, IS AVAILABLE TO
EVERYONE ONLINE.
WE HAVE A QR CODE HERE, AS YOU
CAN SEE ON THE SCREEN, IF YOU'RE
IN THE ROOM, OR YOU SHOULD BE
ABLE TO ACCESS THAT FOR THOSE
VIEWING AT HOME.
NOW, WE ARE GOING TO BEGIN TODAY
WITH -- LET ME SEE.
I NEED TO CHECK TO SEE IF OUR
FIRST SPEAKER IS HERE.
SHE IS NOT HERE.
SO UNFORTUNATELY, I THINK WE'RE
GOING TO NEED TO MOVE TO OUR
NEXT SPEAKER?
YES.
DR. LANGEVIN, IS DR. LANGEVIN IN
THE ROOM?
WE'RE GOING TO MOVE TO OUR
SECOND SPEAKER FOR THE DAY.
IT'S GOING TO BE DR. HELENE
LANGEVIN.
OUR FIRST SPEAKER, WE WILL
ACCOMMODATE HER AS SOON AS SHE
ARRIVES.
I THINK SHE'S CAUGHT IN TRAFFIC,
WHICH FOR THOSE OF YOU WHO LOVE
D.C. , YOU KNOW THIS IS A THING.
SO WE'RE GOING TO BEGIN OUR
WORKSHOP NOW WITH DR. HELENE
LANGEVIN, DIRECTOR OF THE
NATIONAL CENTER FOR
COMPLEMENTARY AND INTEGRATIVE
HEALTH, WHO'S GOING TO OFFER
OPENING REMARKS, AND THEN SHE
WILL INTRODUCE OUR KEYNOTE
SPEAKER, DR. FRANCIS COLLINS.
DR. LANGEVIN.
PLEASE TAKE IT AWAY.
[APPLAUSE]
>> WELL, THANK YOU.
IT IS SUCH A DELIGHT TO BE HERE,
AND TO TALK A LITTLE BIT ABOUT
MUSIC, WHICH HAS LONG BEEN SUCH
AN ESSENTIAL, EVEN PRIMAL PART
OF HUMAN EXISTENCE.
IT'S AMAZING TO THINK THAT SOME
OF THE EARLIEST PREHISTORICAL
ARTIFACTS FROM OVER 40,000 YEARS
AGO WERE MUSICAL INSTRUMENTS.
AND MUSIC IS SO INTIMATELY
CONNECTED TO SOME OF THE
UNIQUELY HUMAN ASPECTS OF
IMAGINATION AND COMMUNICATION
THROUGHOUT THE AGES.
SO FURTHERMORE, MOVING TO MUSIC,
DANCING, FOR EXAMPLE, HAS BEEN
PART OF HUMAN SOCIETY FOR
MILLENNIA.
AND IT'S NOT SURPRISING THAT AS
WE'RE LEARNING, MUSIC HAS
IMPORTANT ROLES TO PLAY IN
PHYSICAL AND MENTAL HEALTH.
SO WE'RE AT SUCH AN EXCITING
TIME IN THE HISTORY OF MEDICINE
RIGHT NOW.
WHILE WE'VE MADE REMARKABLE
PROGRESS DURING THE 20TH CENTURY
IN DEVELOPING PHARMACOLOGICAL
THERAPIES FOR A WIDE VARIETY OF
DISEASES, THE FIRST TWO DECADES
OF THE 21ST CENTURY HAS BEEN
MARKED BY AN EXPANSION OF OUR
REPERTOIRE IN RESEARCH ON VERY
DIFFERENT KINDS OF TREATMENTS.
GENE THERAPIES, FOR EXAMPLE.
MOBILE HEALTH ASSISTIVE
TECHNOLOGIES AND A VARIETY OF
NUTRITIONAL, PSYCHOLOGICAL, AND
PHYSICAL APPROACHES THAT ARE
GRADUALLY BEING INTEGRATED INTO
MAINSTREAM HEALTHCARE.
GROWING THE EVIDENCE BASE ON
NON-PHARMACOLOGICAL TREATMENTS
FIRST REQUIRES AN UNDERSTANDING
OF HOW TO DO THIS KIND OF
RESEARCH.
AND WHAT TYPES OF MEASUREMENTS
SHOULD BE COLLECTED TO ASSESS
THE OUTCOMES OF THIS RESEARCH.
SOME FORMS OF MUSIC THERAPY SUCH
AT MUSIC ASSISTED RELAXATION,
FOR EXAMPLE, MAY PRIMARILY
TARGET SENSORY AND EMOTIONAL
PROCESSING REGIONS OF THE BRAIN.
OTHER FORMS OF MUSIC-BASED
THERAPIES MAY BE MORE COMPLEX
AND SIMULTANEOUSLY ENGAGE OTHER
MODALITIES, INCLUDING MOVEMENT
AND COGNITION.
SUCH THERAPIES INCLUDE ACTIVE
SINGING OR PERFORMING MUSIC,
IMPROVIZATIONAL MUSIC, COMPOSING
ONE'S OWN MUSIC, AND DANCE AS
THE INDIVIDUALS ACTUALLY ENGAGE
IN THE ARTISTIC PROCESS.
THERE ARE ALSO THE COMPONENTS OF
THE MUSIC ITSELF, SUCH AS
FREQUENCY, TEMPO, MELODY, AND
THE VOLUME AT WHICH THE MUSIC IS
PLAYED.
ALL THESE FACTORS NEED TO BE
UNDERSTOOD AND RECOGNIZED WHEN
STUDYING AND IMPLEMENTING
MUSIC-BASED THERAPIES.
THE SYMPTOMS OF MANY CURRENT
HEALTH CHALLENGES, FOR EXAMPLE,
AUTISM, CHRONIC PAIN, STROKE,
CANCER, AND CANCER TREATMENTS,
AND ALZHEIMER'S DISEASE HAVE
REMAINED VERY DIFFICULT TO
MANAGE, EVEN WITH THE MANY
POWERFUL TOOLS THAT WE HAVE IN
OUR MEDICAL ARMAMENTARIUM.
AND MENTAL AND EMOTIONAL HEALTH
CONDITIONS SUCH AS DEPRESSION,
STRESS, ANXIETY, CAN COEXIST
WITH CHRONIC DISEASES OR POSE
CHALLENGES ALL OF THEIR OWN.
THESE DISORDERS OFTEN EXIST
WITHIN A BROADER SOCIAL
FRAMEWORK THAT CAN AND SHOULD
OFFER MORE TO IMPROVE PEOPLE'S
HEALTH AND THEIR WELL-BEING.
AT THE NATIONAL CENTER FOR
COMPLEMENTARY AND INTEGRATIVE
HEALTH, OR NCCIH, THE ROLE OF
MUSIC IN HEALTH IS AN INTEGRAL
PART OF WHAT WE CALL WHOLE
PERSON HEALTH.
WE VIEW HEALTH AS A
BIDIRECTIONAL CONTINUUM, WHERE
MULTIPLE INTERACTING FACTORS CAN
MOVE SOMEONE EITHER TOWARD
HEALTH OR AWAY FROM IT.
BY EMPOWERING INDIVIDUALS,
FAMILIES, COMMUNITIES, AND
POPULATIONS TO IMPROVE THEIR
HEALTH IN MULTIPLE
INTERCONNECTED DOMAINS.
BIOLOGICAL, BEHAVIORAL, SOCIAL
AND ENVIRONMENTAL.
PEOPLE CAN ACHIEVE THEIR BEST
POSSIBLE HEALTH.
RESEARCH ON MUSIC FOR HEALTH
FITS INTO NCCIH'S MISSION
BECAUSE IT IS RELEVANT TO OUR
CENTER'S RESEARCH PRIORITIES,
INCLUDING HEALTH PROMOTION, AND
RESTORATION, DISEASE PREVENTION,
AND SYMPTOM MANAGEMENT.
IN ADDITION, LIKE MANY OF THE
OTHER APPROACHES WE STUDY,
ARTS-BASED INTERVENTIONS SUCH AS
MUSIC MAY HELP DECREASE THE NEED
FOR DRUGS OR OTHER TREATMENTS
THAT CAN HAVE SERIOUS SIDE
EFFECTS.
INTEGRATIVE HEALTH BRINS BRINGS
CONVENTIONAL AND COMPLEMENTARY
APPROACHES SUCH AS MUSIC AND
ARTS-BASED THERAPIES TOGETHER IN
A COORDINATED WAY AND EMPHASIZES
TREATING THE WHOLE PERSON TO
IMPROVE PATIENT OUTCOMES AND
ENHANCE HEALTH AND WELL-BEING
ACROSS THE LIFESPAN.
IT'S NOW MY GREAT PLEASURE TO
INTRODUCE DR. FRANCIS COLLINS.
DR. COLLINS LED NIH FROM 2009 TO
2021 THROUGH AN IMPORTANT PERIOD
OF GROWTH AND ONE OF THE MANY
INITIATIVES AND EFFORTS HE
HELPED ESTABLISH DURING HIS
TENURE WAS THE SOUND HEALTH
INITIATIVE.
SOUND HEALTH WAS BORN FROM AN
ENCOUNTER AND CONVERSATION
BETWEEN DR. COLLINS AND MISS
RENEE FLEMING AND IS ROOTED IN
THEIR SHARED PASSION FOR MUSIC.
THIS INITIATIVE IS NOW A
PARTNERSHIP OF THE NIH, THE
NATIONAL ENDOWMENT FOR THE ARTS,
THE KENNEDY CENTER, AND THE
RENEE FLEMING FOUNDATION.
IT EMBODIES THE SHARED INTEREST
OF THESE PARTNERS FOR THE ARTS,
PARTICULARLY MUSIC AND THEIR
POTENTIAL TO PLAY A SIGNIFICANT
ROLE IN HEALTH.
NOW MANY THINGS HAVE HAPPENED
SINCE THE START OF THIS
INITIATIVE, INCLUDING THE COVID
PANDEMIC, BUT DR. COLLINS'
SUPPORT FOR THIS INITIATIVE HAS
REMAINED STEADFAST.
EVEN AFTER HE STEPPED DOWN AS
NIH DIRECTOR IN 2021, RETURNING
TO HIS ROOTS IN GENETICS
RESEARCH TO LEAD HIS RESEARCH
LAB AT THE NHGRI AND TAKING ON
THE DUTIES OF SCIENCE ADVISOR TO
THE PRESIDENT AND CO-CHAIR OF
THE PRESIDENT'S COUNCIL OF
ADVISERS ON SCIENCE AND
TECHNOLOGY, HE HAS STAYED
CONNECTED AND PASSIONATE ABOUT
MUSIC AS MEDICINE.
THERE ARE MANY OF DR. COLLINS'
ACHIEVEMENTS I COULD LIST TODAY,
BUT I'LL GIVE A SPECIAL MENTION
TO THE 2020 TEMPLETON PRIZE THAT
DR. COLLINS RECEIVED.
THIS PRIZE IS PRESENTED ANNUALLY
TO AN INDIVIDUAL WHOSE
ACHIEVEMENTS ADVANCE THE
PHILANTHROPIC VISION OF SIR JOHN
TEMPLETON.
HARNESSING THE POWER OF THE
SCIENCES TO EXPLORE THE DEEPEST
QUESTIONS OF THE UNIVERSE AND
HUMAN KIND'S PLACE AND PURPOSE
WITHIN IT.
IN MANY WAYS, I SEE FRANCIS'
ONGOING COMMITMENT TO THE SOUND
HEALTH INITIATIVE AS AN
EXPRESSION OF TEMPLETON'S VISION
AS THE WORK OF THE RESEARCHERS,
PERFORMERS, AND INSTITUTIONS OF
SOUND HEALTH ARE HARNESSING
SCIENCE TO EXPLORE QUESTIONS AT
THE INTERSECTION OF MUSIC, THE
ARTS, AND THE HUMAN BODY, MIND,
AND SPIRIT.
SO IT IS MY HONOR TO TURN THE
MICROPHONE OVER TO DR. COLLINS.
[APPLAUSE]
>> THANK YOU, HELENE, FOR THAT
INCREDIBLY GENEROUS
INTRODUCTION, AND GOOD MORNING
TO ALL OF YOU.
DELIGHTED TO BE WITH YOU HERE AT
AMP AT STRATHMORE FOR WHAT I
THINK IS GOING TO BE A
FASCINATING AND RATHER INTENSE
TWO DAYS TO DIG INTO WHAT WE'VE
ACCOMPLISHED SO FAR TO THIS
TOPIC OF MUSIC AS MEDICINE AND
WHAT WE CAN DO DOING FORWARD.
WE HAVE THE BRAIN POWER AND THE
EXPERIENCE AND THE VISION IN
THIS ROOM, AND I GUESS ONLINE,
ABOUT 3500 OTHER PEOPLE THAT WE
OUGHT TO BE ABLE TO MAKE
SOMETHING PRETTY EXCITING HAPPEN
HERE.
THAT IS FOR SURE.
I'M HONORED TO SERVE AS YOUR
CO-CHAIR ALONG WITH MY DEAR
FRIEND AND WONDERFUL CONTRIBUTOR
TO SOUND HEALTH FROM THE VERY
BEGINNING SEVEN YEARS AGO, RENEE
FLEMING, WHO YOU MAY NOT HAVE
NOTICED BUT MAYBE YOU DID, WAS
JUST HONORED BY THE KENNEDY
CENTER WITH ONE OF THE HONORS
JUST 10 DAYS AGO.
RENEE!
[APPLAUSE]
AND A LITTLE ADVERTISEMENT, I
KNOW DEB RUDDER IS HERE AS THE
HEAD OF THE KENNEDY CENTER.
THIS WILL BE SEEN ON PRIME TIME
TELEVISION ON DECEMBER THE 27TH
ON CBS.
SO IF YOU WANT TO CHECK OUT ALL
OF THE THINGS THAT HAPPENED FOR
THAT CELEBRATION OF RENEE AND
FOR OTHER PEOPLE, BY ALL MEANS,
CHECK IT OUT.
WELL, IT'S MY PRIVILEGE HERE TO
BE ABLE TO START US OFF WITH A
REFLECTION ABOUT EXACTLY WHAT IS
THE NATURE OF WHAT WE'VE
ACCOMPLISHED SO FAR.
I'M SORT OF LOOKING BACK OVER
THE LAST SEVEN YEARS WITH A
LITTLE FORECASTING OF WHERE WE
MIGHT GO NEXT, AND THEN WE WILL
GET INTO IT IN THE SPACE OF
THESE SIX SESSIONS, AND RENE
WILL HAVE THE CHANCE TOMORROW
ALSO TO BE THINKING MORE ABOUT
THE FUTURE AND WHERE WE'RE
GOING.
WE KIND OF DIVIDED IT UP THAT
WAY.
WELL, IT'S ALWAYS GOOD TO START
WITH A QUOTE, AND SPRINGSTEEN IS
A PRETTY GOOD PLACE TO START.
THE BEST MUSIC IS ESSENTIALLY
THERE TO PROVIDE YOU WITH
SOMETHING TO FACE THE WORLD
WITH.
WELL, OKAY.
THAT'S I THINK WHAT WE'RE TRYING
TO DO, FACE THE WORLD IN
PARTICULAR WAYS TO TRY TO ASSIST
IN ISSUES THAT RELATE TO HEALTH.
AND THAT'S WHAT WE'RE GOING TO
BE FOCUSING ON.
SO YES, IT WAS NOW ALMOST SEVEN
YEARS AGO THAT THE FIRST
WORKSHOP GATHERED TO TRY TO SEE
WHAT COULD WE DO IN THIS SPACE
OF MUSIC AND THE BRAIN.
AS YOU CAN SEE FROM VARIOUS
PHOTOGRAPHS, THERE WAS A LOT OF
PEOPLE IN THAT ROOM AS WELL IN
THE PORTER NEUROSCIENCE BUILDING
FOCUSING ON A VARIETY OF ISSUES
HERE WE WILL BE REFLECTING ON IN
THE COURSE OF TODAY AND
TOMORROW.
THERE WERE 25 RESEARCHERS PART
OF THAT, THAT WERE
REPRESENTATIVE FROM KE KENNEDY
CENTER, THE NATIONAL ENDOWMENT
OF THE ARTS WHO'S BEEN A
WONDERFUL PARTNERSHIP IN THIS,
AND ADVOCACY GROUPS ALSO WITH US
FOR THIS GATHERING.
BASICALLY WE DID A VERY DEEP
DIVE INTO WHAT THE OPPORTUNITIES
MIGHT BE.
AND AS A RESULT OF THAT,
ACTUALLY PUT TOGETHER AN AGENDA
OF WHAT MIGHT BE THE NEXT THING
TO DO MENTD ATO DO.
MY CLICKER ALL OF A SUDDEN
DOESN'T SEEM TO BE WORKING THE
WAY I WOULD LIKE TO.
THANK YOU.
I DON'T KNOW WHO DID THAT BUT
MAYBE I'LL NEED YOUR HELP.
OKAY.
THIS WAS PUBLISHED THEN, THE
OUTCOME OF THIS, IN THE VERY
PRESTIGIOUS JOURNAL "NEURON"
WITH A BUNCH OF AUTHORS, AND
BASICALLY LAID OUT FROM THIS
WORKSHOP THE AGENDA OF WHAT WE
THOUGHT SHOULD HAPPEN NEXT AS
FAR AS THE RESEARCH FOR THIS
EFFORT.
I'M GOING TO NEED YOUR HELP.
CAN I HAVE THE NEXT SLIDE?
MAYBE THE BAT REA BATTERY ON THS
SOME ATTENTION.
SO WE HAD FOUR DIFFERENT THEMES
AND I DON'T HAVE TIME TO READ
THROUGH THEM WITH YOU, BUT YOU
CAN SEE WHAT'S THERE.
BASIC AND MECHANISTIC RESEARCH.
REALLY TRYING TO FIGURE OUT WHAT
NEURAL CIRCUITS RESPOND TO MUSIC
AND HOW THAT HAS AN EFFECT ON
PEOPLE IN TERMS OF HEALTH ISS
ISSUES.
TRANSLATIONAL AND CLINICAL
RESEARCH, HOW CAN WE BASICALLY
TAKE SOME OF THOSE BASIC
OBSERVATIONS AND BRIQ THEM BRINM
CLOSER TO CLINICAL APPLICATIONS
TRYING TO MAKE THE REMARKABLE
FIELD OF MUSIC THERAPY EVEN MORE
ANCHORED IN THE FIELD OF
NEUROSCIENCE.
AND THEN TWO OTHER THINGS.
METHODS AND OUTCOMES.
IT WAS PRETTY CLEAR, THERE'S A
LOT OF TECHNOLOGY THAT COULD BE
APPLIED HERE.
WE NEED TO FIGURE OUT HOW BEST
TO STIMULATE THAT.
AND THEN CAPACITY-BUILDING.
BECAUSE SEVEN YEARS AGO, IT
DIDN'T SEEM LIKE WE HAD A
CRITICAL MASS OF PEOPLE WHO WERE
REALLY INTERESTED IN HOW TO
BRING TOGETHER NEUROSCIENCE AND
MUSIC THERAPY AND AN
UNDERSTANDING OF HOW THIS ALL
FITS TOGETHER THE WAY THAT WE
WOULD LIKE TO.
SO AS A RESULT OF THAT
SUCCESSFUL WORKSHOP, NIH GOT
TOGETHER AND PUT TOGETHER THIS
TRANS-NIH MUSIC AND HEALTH
WORKING GROUP ESTABLISHED BACK
IN SEPTEMBER OF 2017 NO LESS
THAN 20 OF THE 27 NIH
INSTITUTES, CENTERS AND OFFICES
DECIDED TO JOIN UP.
I WON'T NAME THE ONES THAT
DIDN'T.
THAT WOULD BE RUDE.
[LAUGHTER]
AND YOU CAN SEE WHAT THE CHARGE
WAS HERE, TO DEVELOP, IMPLEMENT
AND COORDINATE RESEARCH PROGRAMS
RELATED TO MUSIC AND HEALTH
ACROSS THE NIH.
I WANT TO GIVE A BIG SHOUT OUT
TO THE CO-CHAIRS OF THIS
TRANS-NIH MUSIC AND HEALTH
WORKING GROUP, EMMELINE EDWARDS,
BOB FINKELSTEIN, TOM CHEEVER AND
FIRST AND WEN CHEN TAKING OVER.
MAYBE WE SHOULD GIVE THEM A
LITTLE ROUND OF APPLAUSE?
[APPLAUSE]
I'LL HAVE TO DEPEND ON YOU.
MAYBE WE CAN FIGURE OUT HOW IT
FIX IT FOR THE FUTURE.
A NUMBER OF OTHER THINGS NEEDED
TO HAPPEN HERE TO TRY TO TAKE
THE RECOMMENDATIONS OF THAT
WORKSHOP AND MOVE THEM FORWARD,
AND AS A RESULT OF THAT, IN
2021, MEMBERS OF THE WORKING
GROUP WERE BASICALLY ORGANIZED A
SERIES OF THREE VIRTUAL
WORKSHOPS WITH ASSISTANCE FROM
THE FOUNDATION FOR NIH.
YOU CAN SEE WHAT THOSE THREE
WORKSHOPS WERE.
LAYING THE FOUNDATION, BA BASICY
ASSESSING AND MEASURING TARGETED
ENGAGEMENT, A TERM THAT MIGHT
NOT BE TOO FAMILIAR TO MUSICIANS
BUT IT'S VERY IMPORTANT TO
PEOPLE WHO ARE DESIGNING
CLINICAL TRIALS.
DID YOU, IN FACT, BY YOUR
INTERVENTION HAVE EVIDENCE THAT
YOU HIT THE TARGET, IN THIS
CASE, SOME CIRCUIT IN THE BRAIN.
AND THEN HOW DO YOU RELATE THAT
TO CLINICAL BENEFIT.
THOSE WERE INTENSE WORKSHOPS.
OUT OF THAT CAME SOME IDEAS
ABOUT BIOMARKERS AND
PARTICULARLY ABOUT BRAIN
DISORDERS OF AGING.
AND THEN, A VERY IMPORTANT PART
OF THIS WAS TO DEVELOP A TOOLKIT
SO THAT RESEARCHERS WHO WERE
DOING THE KIND OF RESEARCH THAT
WE REALLY THINK WE NEED MORE OF
IN TERMS OF CLINICAL
INTERVENTIONS HAVE A WAY OF --
HAVE BEEN PROVIDED FOR THEM A
SENSE OF EXACTLY WHAT KINDS OF
TOOLS ARE AVAILABLE, WHAT KIND
OF RIGOROUS STRATEGIES CAN BE
EMPLOYED.
WE WANTED TO BE SURE THE
RESEARCHERS IN THIS AREA WERE
NOT GOING TO GET DINGED BY THE
VERY TOUGH REVIEWS THAT HAPPEN
WHEN YOU SEND IN APPLICATIONS TO
NIH, BUT WE WOULD PROVIDE THEM
WITH THE OPPORTUNITIES TO TAKE
ADVANTAGE OF THIS TOOLKIT.
AND THIS INCLUDES A COMMON SET
OF DATA ELEMENTS, BUILDING
BLOCKS FOR MUSIC-BASED
INTERVENTIONS, A CORSET OF
FUNCTIONAL OUTCOME MEASURES, ALL
THE THINGS YOU WOULD WANT TO
HAVE IN A RIGOROUS DESIGN OF A
MUSIC-BASED INTERVENTION, WHERE
YOU WOULD KNOW WHEN YOU GOT TO
THE END OF THE STUDY WHAT YOU
HAD LEARNED AND THAT IT WAS
GOING TO BE REPRODUCIBLE.
THEN ANOTHER IMPORTANT THING
THAT HAPPENED WAS A GATHERING AT
THE SYMPOSIUM OF THE SOCIETY FOR
NEUROSCIENCE, WHICH IS THE
BIGGEST GATHERING OF
NEUROSCIENTISTS SOME 30,000
PEOPLE SHOW UP FOR THESE
MEETINGS AND THE WORKING GROUP
PUT TOGETHER THIS SYMPOSIUM,
WHICH INCLUDED A LOT OF THE
THINGS YOU SEE ON THIS SLIDE.
A RECOGNITION OF EXACTLY WHAT
KINDS OF MUSICAL COMPONENTS
COULD BE STUDIED, THE GIRCHES
BETWEEN RECEPTIVE AND ACTIVE
STUDIES, AND ALL THE BRAIN
CIRCUITS AND MODEL SYSTEMS AND
TECHNOLOGIES THAT ARE UNDER
CONSIDERATION FOR INCLUSION IN
THIS VERY EXCITING NEW AREA OF
MUSIC AND HEALTH.
WE'VE ALSO HAD A LOT OF
WONDERFUL SUPPORT FROM THE
KENNEDY CENTER, SO THE NEXT
SLIDE, JUST A TINY BIT OF
RECOGNITION OF THE MANY THINGS,
AND THANK YOU, DEB, FOR YOUR
STRONG SUPPORT THROUGH ALL OF
THIS.
SOUND HEALTH AT THE KENNEDY
CENTER, MUSIC AND MIND WITH
RENEE, RENEW AND REMIX, CHILDREN
INVOLVED, DANCE FOR PARKINSON'S
DISEASE, A VARIETY OF WONDERFUL
VISITS THAT THE NSO HAS MADE TO
THE NIH, SOMETHING THAT I'VE
GREATLY BENEFITED FROM AND ALL
OF MY NIH COLLEAGUES HAVE AS
WELL WITH PERFORMANCES THERE IN
THE ATRIUM OF THE CLINICAL
CENTER.
THEN OF COURSE WE'VE HAD SOME
REALLY BIG MOMENTS, LIKE THIS
EXAMPLE.
OF SOUND HEALTH ACTIVITIES ON
THE MAIN STAGE IN THE CONCERT
HALL, AND BRINGING TOGETHER
PERFORMERS, SCIENTISTS, MUSIC
THERAPISTS, ALL LEARNING FROM
EACH OTHER OVER THE COURSE OF A
COUPLE OF DAYS.
SO IT HAS BEEN PRETTY WILD DOING
ALL OF THAT, AND WE HAVE OTHER
WONDERFUL PARTNERS AS WELL.
WHICH INCLUDE THE SOUND HEALTH
NETWORK, WHICH HAS BEEN A WON
WONDERFUL PARTNERSHIP WITH THE
NATIONAL ENDOWMENT FOR THE ARTS
AND ALL OF US HAVE HAD THE
BENEFIT OF VARIOUS THINGS THEY
HAVE DONE, INCLUDING, AS YOU CAN
SEE HERE, A NUMBER OF SPECIFIC
EVENTS THAT INVOLVE LOOKING AT
VARIOUS AREAS ABOUT HOW MUSIC
PLAYS A ROLE IN CHILD
DEVELOPMENT AND EDUCATION AND
MANY OTHER THINGS.
WELL, WHAT ABOUT NIH?
WHAT HAVE WE DONE WITH ALL OF
THIS OPPORTUNITY AND THIS SET OF
OPTIONS OF WHAT NEEDED TO BE
WORKED ON?
THE WAY WE DO THIS AS NIH IS WE
IDENTIFY WHAT ARE THE MOST
COMPELLING AREAS, AND THEN WE
ISSUE WHAT WOULD BE CALLED AN
RFA, A REQUEST FOR FUNDING
BASICALLY THE ANNOUNCEMENT WHERE
WE SAY TO PEOPLE, THERE'S AN
OPPORTUNITY HERE FOR YOU TO
SUBMIT AN APPLICATION BECAUSE
WE'RE REALLY INTERESTED IN THIS
TOPIC.
YOU CAN SEE THE RFAs THAT NIH
HAS PUT OUT ARE IN THE FOUR
CATEGORIES THAT CAME OUT OF THAT
2017 WORKSHOP, AND THE WORD
CLOUD OVER THERE KIND OF TELLS
YOU WHAT ENDS UP HAPPENING WITH
THE GRANTS THAT WE DID FUND IN
TERMS OF WHAT KINDS OF AREAS
THEY SUPPORTED.
YOU PROBABLY CAN'T SEE THE FINE
PRINT PARTICULARLY WELL.
OBVIOUSLY MUSIC, EVERYBODY HAD
MUSIC IN THEIR APPLICATION.
WHAT DO YOU KNOW.
BUT THEN THERE ARE OTHER THINGS
IN THERE TOO, IF YOU COULD SEE
THE SMALL PRINT, ALZHEIMER'S IS
FEATURED, PAIN IS FEATURED,
VARIOUS ASPECTS OF NEUROSCIENCE.
BUT YOU CAN'T TELL MUCH FROM
THAT ABOUT WHAT WE ACTUALLY DID.
AND OF COURSE THIS HAS BECOME
NOW A REALLY IMPRESSIVE
PORTFOLIO, AND YOU'RE GOING TO
HEAR IN THE COURSE OF THIS
MEETING A LOT OF PRESENTATIONS
FROM THE GRANTEES THAT WE HAVE
FUNDED OVER THE COURSE OF THESE
SIX OR SEVEN YEARS.
IF YOU GO TO THE NEXT SLIDE, YOU
CAN SEE EXACTLY WHERE THOSE GOT
FUNDED FROM, ALL OF THE
DIFFERENT NIH INSTITUTES THAT
TOOK PART IN THIS.
AND THE BIG NUMBER OVER THERE ON
THE RIGHT, $35 MILLION, HAS BEEN
INVESTED IN THIS WHOLE AREA OF
MUSIC AND THE MIND BECAUSE OF
THE PROGRAM THAT GOT STARTED
SEVEN YEARS AGO.
SO THAT'S NOT A SMALL BIT OF
CHANGE.
[APPLAUSE]
AND FIRST OF ALL KEEP IN MIND
THAT WE WERE FUNDING PROJECTS IN
THIS AREA BEFORE MUSIC AND
HEALTH WORKSHOP CAME ALONG.
YOU CAN SEE BETWEEN 2014 AND
2018 THE DOLLAR FIGURE, AND THEN
YOU CAN SEE IT BUMPED UP
SUBSTANTIALLY WHEN WE GOT TO
2019 TO 2023, BECAUSE OF ALL OF
THESE RFAs THAT I JUST TOLD
YOU ABOUT AND A NUMBER OF
PROJECTS WENT UP VERY
SIGNIFICANTLY AS A RESULT OF
THAT AS WELL.
BUT WE DID ALREADY HAVE A
WONDERFUL FOUNDATION OF WORK
THAT WAS GOING ON BY SOME OF YOU
IN THIS ROOM THAT WE COULD NOW
BUILD UPON, AND ALSO MAYBE
DIRECT IT IN AREAS THAT WE
THOUGHT WERE PARTICULARLY READY
FOR THIS KIND OF EXPANSION OF
SUPPORT.
DID IT RESULT IN ANYTHING AS FAR
AS SCHOLARSHIP?
YOU BET IT DID.
THIS IS A PUBLICAT PUBLICATION ,
ANYTHING THAT YOU WENT TO PUBMED
AND LOOKED FOR THE MESH TERM
"MUSIC" AND LOOKED TO SEE WHAT
COMES UP.
MOST OF THOSE WILL BE RELEVANT
TO WHAT WE WILL BE TALK ABOUT,
AND YOU CAN SEE STARTING IN
2017, THERE WAS A BUMP-UP.
AND THAT'S I THINK BECAUSE OF
EVERYTHING THAT WE DID.
NOW I THOUGHT IT WOULD BE FUN
AND I ASKED THE WORKING GROUP,
HEY, GIVE ME A FEW EXAMPLES OF
SOME OF THE THINGS WE HAVE
FUNDED SO IT'S NOT QUITE SO
GENERAL.
THEY THREW ME A FEW VERY
COMPLICATED CURVE BALLS BUT I'LL
TRY TO EXPLAIN THEM TO YOU.
SO LET'S GO TO THIS ONE.
OKAY.
WHAT ARE WE DOING HERE?
THIS IS A VERY INTERESTING
PROJECT THAT I REALLY HAD TO GO
AND READ THE ORIGINAL PAPER TO
FIGURE OUT WAIT A MINUTE, WHAT
IS THIS?
THEY'RE TRYING TO FIGURE OUT,
FOR LANGUAGES WHERE ACTUAL TONE
IS REALLY IMPORTANT, THE LEXICAL
TONE, LIKE MANDARIN, FOR
INSTANCE, WHERE THE SAME WORD
CAN MEAN SOMETHING VERY
DIFFERENT DEPENDING ON WHETHER
YOU WENT FROM LOW TO HIGH OR
HIGH TO LOW OR SOMETHING IN
BETWEEN, BUT ACTUALLY PEOPLE WHO
ARE NOT MANDARIN SPEAKERS,
NATIVE ENGLISH SPEAKER, IF YOU
LOOK AT WHAT'S HAPPENING BETWEEN
AGE 6 AND 12 MONTHS, MOST OF
THOSE KIDS ARE DEVELOPING
LANGUAGE SKILLS AND THERE'S A
WINDOW THERE FOR CAPTURING THEIR
LEXICAL SENSITIVITY, BUT IT
DOESN'T HAPPEN IN ENGLISH
SPEAKERS BECAUSE THEY'RE NOT
REALLY GETTING THAT TRIGGER.
HOWEVER, THAT'S A REALLY
IMPORTANT THING TO TRY TO
RETAIN.
SO WHAT THEY DID HERE WAS THEY
TOOK KIDS AT 7 MONTHS AND THEY
TOOK THE BASELINE, AND THEN AT
11 MONTHS, THEY CHECKED AGAIN TO
SEE WHAT HAPPENED IN TERMS OF
THEIR ABILITY TO TRACK A
PARTICULAR TONE AND SEE WHETHER
THEY WERE TRACKING IT CORRECTLY.
USING SOMETHING CALLED A
FREQUENCY-FOLLOWING RESPONSE.
BOTTOM LINE IS, JUST LOOK AT THE
TWO CURVES THERE.
THE ONE ON THE LEFT, YOU'LL SEE
THERE'S A BIG SPIKE THERE IN THE
RED.
THOSE ARE THE KIDS WHO DIDN'T
GET MUSICAL TRAINING IN BETWEEN
7 AND 11 MONTHS.
WHEREAS THE KIDS IN BLUE DID,
AND THEY WERE THEN ABLE TO TRACK
THIS LEXICAL CHANGE MORE
ACCURATELY BECAUSE THEY HAD THAT
EXPOSURE TO MUSIC.
SO MUSIC IN THIS INSTANCE,
PLAYING A ROLE IN SENSITIVITY TO
SUBTLE LANGUAGE DIFFERENCES,
WHICH WOULD BE PARTICULARLY
IMPORTANT FOR A MANDARIN SPEAKER
BUT PROBABLY IMPORTANT FOR ALL
OF US AS WELL.
IF YOU DIDN'T QUITE GET THAT, GO
AND READ THE PAPER, IT'S REALLY
COOL.
SECOND ONE, THIS IS AN
INTERESTING USE OF THE STUDY
CALLED ABCD, WHICH IS A BIG
STUDY THAT NIH ORGANIZED WITH A
BUNCH OF SUPPORT PARTICULARLY
FROM NORA VOLKOW AND THE DRUG
ABUSE INSTITUTE BUT ALSO MANY
OTHER INSTITUTES THAT JOINED IN
ON THIS.
THEY'RE STUDYING ADOLESCENTS,
LOTS OF THEM, OVER THE COURSE OF
QUITE A NUMBER OF YEARS.
11,876 KIDS, AND THERE'S SOME
TWIN PAIRS IN THERE TOO.
THEY'RE COLLECTING ALL THE
INFORMATION THEY POSSIBLY CAN.
A LOT OF IT IS ABOUT MENTAL
HEALTH AND THE EFFECT OF SOCIAL
MEDIA BUT THEY ASKED THEM ABOUT
MUSIC.
SO DID THIS PARTICULAR CHILDED
CHILDHAVE A MUSIC EXPOSURE AND ,
DID IT CORRELATE WITH ANYTHING
ELSE THEY WERE DOING?
I THINK THE BIG STORY HERE THAT
I SAW WAS IT DID TURN OUT THAT
IF YOU HAD SOME INSTRUMENT
EXPOSURE, SOME EXPOSURE TO A
MUSICAL INSTRUMENT, YOU HAD A
CORRELATION WITH LANGUAGE SKI
SKILLS.
AN R SQUARED OF .27 IS NOT HUGE
BUT IT'S THERE, AND ALONG WITH
EXECUTIVE FUNCTION WHICH WAS
INTRIGUING, SUGGESTING THAT IN
THIS PARTICULAR COHORT OF
ADOLESCENTS, THAT MUSIC EXPOSURE
IN TERMS OF HAVING EXPOSURE TO
AN INSTRUMENT, HAD THIS OTHER
KIND OF SPINOFF.
NOW, ADMITTEDLY, THIS IS NOT A
PROSPECTIVE STUDY, THIS IS
RETROSPECTIVE AND SOME PEOPLE
WILL CRITICIZE IT, SO LISTEN TO
SESSION 3 WHEN WE TALK ABOUT AN
APPROACH DOING THIS MORE
RIGOROUSLY IN A PROSPECTIVE WAY
IN HISPANIC CHILDREN IN
LOS ANGELES.
ANOTHER ONE, THIS IS AN
INTERESTING STUDY TRYING TO
UNDERSTAND WHETHER TRAINING
AUTISTIC CHILDREN WITH DRUMMING
WOULD ACTUALLY HAVE BENEFIT IN
TERMS OF EXTINGUISHING SOME
OTHER REPETITIVE BEHAVIORS WHICH
CAN BE SO DIFFICULT FOR KIDS AND
THEIR PARENTS AND TEACHERS.
SO THEY BASICALLY DIVIDED THEM
UP INTO TWO GROUPS, AND ONE
GROUP JUST GOT OBSERVED AND THE
OTHER GOT TRAINED IN A SERIES OF
EXERCISES ABOUT HOW TO BE AN
EFFECTIVE DRUMMER.
AND THEY DID A LOT OF MRI SCANS,
WHICH I WON'T TRY TO EXPLAIN TO
YOU, BUT THEY DID, IN FACT, SHOW
THAT THE MRI SCANS DID
DEMONSTRATE THE DRUMMING HAD AN
EFFECT OP SOMETHIN ON SOMETHINGD
CALL INHIBITORY CONTROL,
FUNCTIONAL CONNECTIVITY IN THE
BRAIN.
FURTHERMORE AS YOU CAN SEE FROM
THE BLUE AND RED LINE, THE RED
LINE BEING WHAT HAPPENED WITH
THE DRUM CONTROL GROUP, THEY HAD
A REDUCTION IN HYPERACTIVITY AND
INATTENTION SCORES WHICH WAS
STATISTICALLY SIGNIFICANT AS A
RESULT OF THIS PARTICULAR STUDY,
WHERE THESE 36 ADOLESCENTS WERE
RECRUITED, TWO LESSONS PER WEEK
OVER 8 WEEKS AND HERE'S WHAT
HAPPENED.
INTERESTING.
AS ANOTHER EXAMPLE -- THIS, BY
THE WAY, WAS A BRITISH STUDY.
THE FIRST TWO I TOLD YOU ABOUT
WERE U.S. BUT THEY'RE NOT BEING
PRESENTED AT THIS MEETING.
AND THEN THE LAST ONE, WHICH IS
REALLY COMPLICATED NEUROSCIENCE
BUT I LOVE THIS STUFF, IS
ACTUALLY TRYING TO UNDERSTAND
HOW IS IT THAT MUSIC, OR
AUDITORY TONES, CAN INTERFERE IN
A GOOD WAY WITH A PAIN SIGNAL.
SO HERE IN THIS INSTANCE, THEY
ARE BRINGING ALL THE
TECHNOLOGIES THAT YOU WOULD WANT
TO TRY TO STUDY A MOUSE MODEL IN
TERMS OF THIS IS A TRANSGENIC
MOUSE BUT IT ALSO IS USING
SOMETHING CALLED OPTOGENETICS,
THEY'RE DOING CALCIUM SIGNALING
AND ALL THE REST.
WHAT THEY DISCOVER IS IF YOU USE
THIS RATHER SIMPLE 5-DECIBEL
MUSICAL TONE, THAT YOU CAN
SIGNIFICANTLY REDUCE THE MOUSE'S
SENSITIVITY TO PAIN.
AND THEY CAN TELL YOU WHY,
BECAUSE OF THE CIRCUITS THAT ARE
BEING OBSERVED IN THE PROCESS OF
THIS WORK.
AND THIS WILL BE PRESENTED AT
THIS WORKSHOP, BECAUSE I JUST
DID NOT DO JUSTICE TO IT, BUT ON
SESSION 4, DAY TWO, ONE OF THE
AUTHORS OF THIS PAPER WILL TELL
YOU MORE ABOUT THIS.
I THINK A LOT OF THIS IS SORT OF
THE WAVE OF THE FUTURE OF WHERE
WE'RE GOING IN TERMS OF TAKE TAG
ADVANTAGE TO NOT JUST MAKE
OBSERVATIONS BUT ACTUALLY
UNDERSTAND MECHANISMS AT THE
LEVEL OF CIRCUITS IN THE BRAIN.
SO THOSE ARE FOUR KIND OF FUN
IDEAS.
THE MEETING YOU'RE ABOUT TO GO
THROUGH IS GOING TO BE LAKE
NOTHING I'VE EVER SEEN AND MAYBE
YOU HAVEN'T EITHER.
WE'RE GOING TO TRY TO PACK INTO
THIS SIX SESSIONS, AND THE
NUMBER OF PRESENTATIONS AND
PANEL SPEAKERS, WHEN I FIRST SAW
IT, I SAID, THIS IS NEVER GOING
TO WORK, THIS IS GOING TO TAKE A
WHOLE WEEK TO DO THE FIRST DAY.
SHE ASSURES ME, NO, EVERYBODY IS
GOING TO BE DISCIPLINED, WE'RE
GOING TO MAKE THIS ALL HAPPEN.
BUT YOU ARE GOING TO BE DRINKING
FROM THE FIREHOSE HERE WHEN IT
COMES TO THE KIND OF INFORMATION
ABOUT MUSIC AS MEDICINE.
BY THE WAY, I HAVE TO SAY, I
LOVE THE TITLE.
IT'S NOT MUSIC AND MEDICINE.
IT'S MUSIC AS MEDICINE.
I ASSUME THE WORKING GROUP
THOUGHT A LOT ABOUT PICKING THE
WAY IN WHICH THEY WANTED TO
EXPRESS THE POINT OF WHY WE'RE
ALL HERE.
SO THOSE ARE THE SESSIONS, AND
THEY ARE LINKED PRETTY CLOSELY
WITH THE ORIGINAL
RECOMMENDATIONS OF THAT 2017
WORKSHOP ABOUT WHERE WE SHOULD
BE.
FINALLY, LET ME SAY A BIG THANK
YOU TO OTHER PARTS OF VARIOUS
OTHER INITIATIVES THAT WE WANT
TO INTERACT WITH.
THE BRAIN INITIATIVE AT NIH,
WHICH IS ALSO NOW IN ITS SIXTH
OR SEVENTH YEAR, IS A REALLY
INTENSE INVESTIGATION OF HOW
THOSE 86 BILLION NEURONS BETWEEN
YOUR EARS DO WHAT THEY DO.
WE REALLY WANT TO TRY TO BRING
THIS PROJECT AND BRAIN CLOSER
TOGETHER, AND JOHN, WHO RUNS
THAT, IS ENTHUSIASTIC ABOUT THAT
AS WELL.
LET ME SAY A QUICK WORD ABOUT
POTENTIAL FUTURE DIRECTIONS
ALTHOUGH THAT WAS NOT MY CHARGE,
THAT'S WHAT RENEE IS GOING TO
TALK A BIT MORE ABOUT TOMORROW.
WHERE DO WE THINK, AFTER
SURVEYING WHERE WE'VE BEEN, ARE
AREAS THAT WE MIGHT WANT TO
THINK ABOUT GOING NEXT IN TERMS
OF PARTICULAR PRIORITIES?
I WOULD SAY TECHNOLOGIES.
AGAIN, WE'RE LEARNING SO MUCH
MORE ABOUT HOW TO ACTUALLY
ASSESS WHAT'S HAPPENING AFTER A
MUSIC EXPOSURE, AND SURELY IT'S
GOING TO BE GOOD TO KNOW MORE
ABOUT THAT.
I STILL WOULD LOVE TO SEE US
BRING THE WHOLE FIELD OF MUSIC
THERAPY AND NEUROSCIENCE EVEN
CLOSER TOGETHER.
THAT'S BEEN PART OF THE DREAM
ALL ALONG, TO MAKE IT POSSIBLE
FOR THE REMARKABLE THINGS THAT
MUSIC THERAPY CAN ACHIEVE TO BE
BETTER UNDERSTOOD IN TERMS OF
HOW THOSE ARE AFFECTING PATHWAYS
IN THE BRAIN, AND HOW WE CAN
LEARN FOR THAT IN ORDER TO MAKE
MUSIC THERAPY EVEN MORE
SUCCESSFUL IN THE FUTURE.
WE NEED TO HAVE A BETTER
UNDERSTANDING OF CULTURAL
CONTEXT.
I THINK WE HAVEN'T SO FAR REALLY
DELVED INTO THE DIFFERENT KINDS
OF MUSICAL EXPERIENCES THAT
PEOPLE HAVE, AND THERE'S A LOT
WE COULD DO THERE.
AND THEN IMPLEMENTATION SCIENCE,
REALLY, LET'S SEE HOW THIS WORKS
IN TERMS OF REAL WORLD
APPLICATIONS, AND OBVIOUSLY THE
PEOPLE WHO ARE THINKING ABOUT
REIMBURSEMENT ARE GOING TO WANT
TO SEE THAT DATA TO HAVE YOU
ACTUALLY CHANGE OUTCOMES BY THIS
IN A REAL WORLD KIND OF SETTING.
THEN FINALLY, INTEGRATION WITH
OTHER ART-BASED INTERVENTIONS,
WE FOCUS PRIMARILY ON MUSIC
BECAUSE IT SEEMED LIKE IT WAS
SUCH A FERTILE AREA, BUT
OBVIOUSLY ALSO RHYTHM HAS GOTTEN
IN THERE AND DANCE HAS BEEN
TALKED ABOUT.
AND WHAT ABOUT THE VISUAL ARTS?
WE WANT TO TRY TO FIGURE OUT HOW
WE CAN MAKE THE MOST OF ALL
THOSE OPPORTUNITIES WITHOUT
GETTING SO DIFFUSE THAT WE END
UP NOT MAKING ENOUGH PROGRESS.
SO THOSE ARE ALL THINGS WE'RE
GOING TO BE TALKING ABOUT.
FINALLY, I JUST WANT TO SAY A
BIG THANK YOU TO THE SPONSORS OF
THIS PARTICULAR WORKSHOP,
PARTICULARLY A BIG SHOUT OUT TO
NCCIH, BECAUSE THEY'VE DONE A
LOT HERE, BUT YOU CAN SEE ALL OF
THE OTHER INSTITUTES THAT HAVE
CONTRIBUTED FINANCIALLY TO OUR
BEING ABLE TO PUT THIS ON.
THIS WAS NOT A CHEAP WORKSHOP TO
PUT TOGETHER, AND NIH HAD TO DIG
A LITTLE DEEP IN A TIME OF NOT
EXACTLY EASY BUDGETS TO MAKE
THIS HAPPEN.
AND THEN A BIG SHOUT OUT TO THE
PLANNING COMMITTEE, THE SESSION
CO-CHAIRS.
YOU'LL BE HEARING FROM THE
CO-CHAIRS IN THE COURSE OF THIS.
I'M NOT GOING TO READ OFF THE
NAMES BUT THESE PEOPLE HAVE
WORKED REALLY HARD TO PUT
TOGETHER THIS.
AND THEN THE MUSIC AS MEDICINE
WORKSHOP LOGISTICS TEAM, LISTED
HERE, ALSO PEOPLE WHO HAVE
WORKED EXTREMELY HARD TO GET US
HERE.
AND WITH THAT, I THINK I SHOULD
SAY THANK YOU TO ALL OF YOU FOR
BEING HERE, AND LET'S GET ON
WITH WHAT IS GOING TO BE A
REMARKABLY INTERESTING AND
INTENSE COUPLE OF DAYS.
[APPLAUSE]
CATHERINE, CAN I TURN IT BACK TO
YOU?
COME ON UP.
>> THANK YOU SO MUCH,
DR. COLLINS.
THAT WAS A WONDERFUL, WONDERFUL
LOOK AT THE ACCOMPLISHMENTS SO
FAR.
NOW WE'RE GOING TO TURN BACK AND
WE'RE GOING TO GO TO A VERY
IMPORTANT PERSON.
IT IS DR. MARIA ROSARIO JACKSON,
WHO IS GOING TO OFFER A FEW
ADDITIONAL OPENING REMARKS, AND
WE'RE GOING TO WELCOME HER TO
THE STAGE.
SHE IS THE CHAIR OF THE NATIONAL
ENDOWMENT FOR THE ARTS, AND
WE'RE SO PLEASED TO HAVE HER
TODAY WITH US TO SHARE A FEW
SPECIAL REMARKS.
DR. JACKSON.
[APPLAUSE]
>> THANK YOU, CATHERINE, AND
THANK YOU FOR YOUR FLEXIBILITY.
GOOD MORNING, EVERYONE.
GOOD MORNING.
I'M DELIGHTED TO BE WITH YOU
TODAY, AND SO EXCITED ABOUT THIS
COLLABORATION BETWEEN THE
NATIONAL INSTITUTES OF HEALTH
AND THE NATIONAL ENDOWMENT FOR
THE ARTS.
ON THIS REALLY IMPORTANT
CONVENING, MUSIC AS MEDICINE,
MUSIC IS ONE OF THE MOST
POWERFUL AND TRANSFORMATIVE
FORCES AVAILABLE TO US.
IT'S A UNIVERSAL WAY IN WHICH WE
EXPRESS OUR FULL HUMANITY, TELL
OUR STORIES, HOLD NUANCE,
TRANSCEND BOUNDARIES.
THE EXPERIENCE IN MAKING OF
MUSIC IMPACTS US INTELLECTUALLY,
PHYSICALLY, EMOTIONALLY AND
SPISPIRITUALLY AND I'M REALLY
GRATEFUL TO SHARE A FEW THOUGHTS
WITH YOU TODAY ABOUT WHAT THE
NEA IS DOING TO HELP ADVANCE
WELL-BEING FOR ALL AMERICANS.
I HOPE IT WON'T SURPRISE YOU TO
HEAR THAT THE ARTS ENDOWMENT HAS
WORKED AT THE INTERSECTION OF
ARTS AND HEALTH, WELL-BEING AND
WELLNESS FOR MANY YEARS.
IN SOME WAYS THAT ARE OBVIOUS
AND OTHER WAYS THAT ARE LESS
VISIBLE.
TOGETHER WITH NIH, THE NEA
COFUNDS STUDIES ON THE BENEFITS
OF MUSIC THERAPIES AND
MUSIC-BASED HEALTH
INTERVENTIONS, AND WE'RE ALSO
THRILLED TO SUPPORT A NEWLY
ESTABLISHED NIH MUSIC RESEARCH
NETWORK.
I REALLY VALUE OUR LONG TERM
RECORD OF COLLABORATION WITH
NIH, AND I'M PROUD OF THE
STRIDES THAT WE'RE MAKING WITH
OUR PARTNERS AT THE UNIVERSITY
OF CALIFORNIA SAN FRANCISCO, THE
KENNEDY CENTER, AND RENEE
FLEMING AS PART OF THE SOUND
HEALTH NETWORK WHICH YOU HEARD A
LITTLE BIT ABOUT EARLIER.
THE INITIATIVE PROMOTES PUBLIC
KNOWLEDGE AND AWARENESS ABOUT
THE CONNECTIONS BETWEEN MUSIC
AND HEALTH, AND LEADERS FROM THE
SOUND HEALTH NETWORK ARE IN THE
ROOM AND I HOPE YOU GET A CHANCE
TO TALK WITH THEM THROUGHOUT THE
CONVENING.
THE NEA IS ALSO DEDICATED TO
HELPING IMPROVE HEALTH,
WELL-BEING AND QUALITY OF LIFE
FOR MILITARY CONNECTED
POPULATIONS THROUGH OUR CREATIVE
FORCES, NEA, HEALING, THE ARTS
NETWORK.
IT PROVIDES INSPIRATION AND
INSIGHTS FOR WORK THROUGHOUT THE
COUNTRY AS COMMUNITIES RALLY TO
ADDRESS TRAUMA IN MANY FORMS.
AS PART OF OUR INVESTMENT IN
RESEARCH ON CREATIVE ARTS
THERAPISTS THIS FALL WE
ANNOUNCED SUPPORT FOR A
RANDOMIZED CONTROLLED TRIAL OF
MUSIC THERAPY FOR U.S. VETERANS
WITH CHRONIC PAIN.
THIS IS A COLLABORATION WITH THE
HENRY M. JACKSON FOUNDATION FOR
THE ADVANCEMENT OF MILITARY MED
SIRNTION AND THROUGH RESEARCH IN
SUPPORT OF A RANGE OF PROJECTS
IN COMMUNITIES AROUND THE
COUNTRY, WE ALSO PLANNED TO
DELVE INTO UNDERSTANDING OTHER
POSSIBLE CONTRIBUTIONS OF ARTS
PARTICIPATION AS IT PERTAINS TO
SOCIAL FABRIC, MENTAL HEALTH,
AND EVEN OUR DEMOCRACY.
ONE CONVICTION I'VE HAD FOR THE
ENTIRETY OF MY CAREER IS THAT
NONE OF THE THINGS THAT WE
ASPIRE TO AS A NATION OF
OPPORTUNITY ARE POSSIBLE OR
DURABLE WITHOUT UNDERSTANDING
THE ROLE OF THE ARTS IN RELATED
WORK IN ALL ASPECTS OF OUR LIVES
AND COMMUNITIES.
IN THE SPIRIT WITH A BROAD LENS
FOR UNDERSTANDING WHAT
CONTRIBUTES TO HEALTH, THE NEA
IS ACTING AS A CATALYST,
CONNECTOR AND CON VEERING TO
BRING LEADERS ACROSS ALL SECTORS
AND DIMENSIONS FROM THE FEDERAL
FAMILY INTO AN INAUGURAL SUMMIT
COASTED BY THE WHITE HOUSE
DOMESTIC POLICY COUNCIL.
THE GATHERINGS ENTITLED HEALING,
BRIDGING, THRIVING, A SUMMIT ON
ARTS AND CULTURE AND OUR
COMMUNITIES, AND IT WILL TAKE
PLACE ON JANUARY 30TH TO DISCUSS
THE INTEGRAL ROLE OF THE ARTS IN
OUR EVERYDAY LIVED EXPERIENCES
IN HEALTH, OUR BUILT-IN NATURAL
ENVIRONMENTS, AND OUR CIVIC
INFRASTRUCTURE.
I BELIEVE THAT THEY'RE MOST
POWERFUL, THE ARTS DON'T EXIST
IN A BUBBLE, IN ISOLATION,
THEY'RE NOT JUST EXTRA.
OUR ABILITY TO LIVE ARTFUL LIVES
IS ESSENTIAL TO ADVANCING OUR
FULL HUMANITY, AND OUR HEALTH
AND WELLNESS OF THE NATION.
I'M DEEPLY INSPIRED BY THE
ADVANCEMENT OF RESEARCH ON MUSIC
AND HEALTH IN THE LAST SEVERAL
YEARS BY WHAT'S POSSIBLE NOW AND
IN THE YEARS AHEAD.
I'M INSPIRED BY THIS CONVENING,
THE RANGE OF WORK AND IDEAS TO
BE DISCUSSED LIKE WHAT FRANCIS
COLLINS JUST SHARED, THANK YOU,
DR. COLLINS, AND EXPERIENCES
PLANNED INCLUDING CONTRIBUTIONS
BY SUNIL EYNGAR, AND JEN CHANG,
NEA'S WHITE HOUSE LIAISON,
ALONGSIDE HER MOTHER, DR. LISA
WONG, A SPECIAL THING.
SO PLEASE KNOW THE ARTS
ENDOWMENT IS SO PROUD TO WORK
ALONGSIDE YOU AS WE BUILD ON
EXISTING WORK AND ALSO BREAK NEW
PATHS.
THANK YOU FOR LISTENING AND FOR
ALL THAT YOU DO, AND I'LL TURN
IT BACK TO CATHERINE.
[APPLAUSE]
>> THANK YOU, DR. JACKSON.
WE'RE GOING TO TAKE JUST ONE
MORE SET OF WONDERFUL SPECIAL
REMARKS AND IT'S GOING TO BE
WITH DR. BRUCE TROMBERG, THE
DIRECTOR OF THE NATIONAL
INSTITUTE OF BIOMEDICAL IMAGING
AND BIOENGINEERING.
DR. TROMBERG.
>> OKAY, THANK YOU.
IS IT OKAY?
EVERYONE CAN HEAR ME?
GREAT.
ALL RIGHT.
WELL, GOOD MORNING.
MY NAME IS BRUCE TROMBERG.
I'M THE DIRECTOR OF THE NATIONAL
INSTITUTE FOR BIOMEDICAL IMAGING
AND BIOENGINEERING.
WE ALSO CALL THIS THE
ENGINEERING INSTITUTE AT THE
NIH.
SO IT'S MY HONOR AND GREAT
PLEASURE TO BE HERE TODAY, AND
THANK YOU TO THE ORGANIZERS,
THANK YOU TO THE NCCIH IN
PARTICULAR FOR ORGANIZING THIS
ENTIRE MEETING.
I'LL TRY TO STAY MORE OR LESS IN
THE KEY OF FRANCIS AS I MAKE
THIS LITTLE BRIDGE BETWEEN THESE
REMARKS AND THE SCIENCE OF
MUSIC, WHICH IS THE NEXT SESSION
THAT'S COMING UP.
A BRIDGE IS A MUSICAL CHANGE OF
PACE AND IT SUMMARIZES HOW A
BIOMEDICAL ENGINEER, OR AT LEAST
THIS ONE, THINKS ABOUT MUSIC.
LIKE MUSICIANS, MANY OF US IN
BIOMEDICAL ENGINEERING
CONTROL -- MASTER INSTRUMENTS
THAT GENERATE AND RECEIVE
POWERFUL INVISIBLE FORMS OF
ENERGY, A STREAM OF WAVE
PATTERNS OR SIGNALS OSCILLATING
OVER A WIDE RANGE OF
FREQUENCIES.
THAT'S ALSO AN ENGINEER'S
WORKING DEFINITION OF MUSIC.
WE ALSO CALL THOSE SIGNALS.
WE LOVE TO MODULATE AND CONTROL
THE AMPLITUDE PHASE AND
FREQUENCY OF THESE ENERGY
GENERATING SOURCES.
USING COMPLEX AND BEAUTIFUL TIME
VARYING PATTERNS, AND COMBINING
WAVES SO THEY PRODUCE
SPECTACULAR HARMONIC EFFECTS.
INTERMITTENT COHERENCES.
OUR GOAL IS TO MEASURE VERY
PRECISELY AND IN REALTIME THE
OFTEN DRAMATIC AND PROFOUND
EFFECT OUR FAVORITE WAVES HAVE
ON THE HUMAN BODY.
TUNING THESE ENERGY SOURCES TO
JUST THE RIGHT FREQUENCIES CAN
MAKE THEM RESONANT WITH
FUNDAMENTAL LIFE PROCESSES SUCH
AS THE MOVEMENT OF PROTONS AND
ELECTRONS IN BIOMOLECULES, OR
THE MECHANICAL DISPLACEMENT OF
CELLS P PERFECTLY POISED IN A
MATRIX.
THE BODY IS A BRILLIANT
TRANSDUCER.
CONVERTING THESE EXTERNALLY
GENERATED WAVES INTO POWERFUL,
COORDINATED SOURCES OF INTERNAL
ENERGY THAT DRIVE ESSENTIAL LIFE
PROCESSES, LIKE SENSORY
ACTIVATION, MOVEMENT, AND GENE
EXPRESSION.
SOME WAVES ACTUALLY REFLECT OR
TRANSMIT OR PASS THROUGH THE
BODY, REVIEWING WHAT'S DEEP
INSIDE, BENEATH THE SURFACE, AND
EXPANDING OUR CAPACITY TO SEE.
IF ALL OF THIS SOUNDS LIKE
MASTERS OF THE UNIVERSE, WELL,
YOU'RE CORRECT.
MUSICIANS ARE THE ORIGINAL
COMBINATION OF SUPERHERO AND
BIOMEDICAL ENGINEER.
CONTROLLING ENERGY FOR LIFE AND
HEALTH WITH POWERFUL INSTRUMENTS
AT THE POINT OF CARE, WHEREVER
WE NEED IT.
FROM THE PURE HEALING 440 HERTZ
TONE OF THE MIDDLE A TO THE
COMPLICATED TIME FREQUENCY
VARIATIONS OF A SYMPHONY,
DESIGNED TO DELIVER PRECISE
MOMENTS OF COHERENCE, BOTH
RHYTHMICALLY AND BIOLOGICALLY,
MUSIC TRULY WORKS AS MEDICINE.
ALTHOUGH WE HAVE A DEEP
UNDERSTANDING OF THE PHYSICS OF
WAVES, WE KNOW LITTLE ABOUT THE
BIOLOGICAL MECHANISMS OF HOW
HUMANS GENERATE, RECEIVE, AND
PROCESS MUSIC.
A UNIVERSAL FORM OF ENERGY-BASED
COMMUNICATION THAT HAS SUCH AN
ENORMOUS AND ENDURING EFFECT.
THE NEXT SESSION, THE SCIENCE OF
MUSIC, WILL REVEAL SOME OF THESE
MYSTERIES.
THIS RAPIDLY GROWING FIELD HAS
NEVER BEEN MORE URGENT AND
IMPORTANT.
IT'S A GATEWAY TO A DEEPER
UNDERSTANDING OF FUNDAMENTAL
INTEGRATED LIFE PROCESSES, AND
IT CAN INSPIRE THE DEVELOPMENT
OF POWERFUL NEW BIOENGINEERING
TOOLS AND TECHNOLOGIES THAT CAN
TRANSFORM OUR MENTAL, PHYSICAL
AND EMOTIONAL HEALTH.
THANK YOU.
[APPLAUSE]
>> THANK YOU, DR. TROMBERG.
THOSE WERE SOME FANTASTIC REPLA
REMARKS ON THE INTERSECTION OF
ENGINEERING AND MUSIC.
NOW I AM PLEASED TO WELCOME TO
THE STAGE ONE OF OUR CO-CHAIRS.
I WANT TO INTRODUCE OUR
CO-CHAIRS FOR SESSION ONE,
RESEARCH ON THE SCIENCE OF MUS
MUSIC.
OUR CO-CHAIRS FOR THIS SESSION
ARE DR. ROBERT RIDDLE FROM THE
NATIONAL INSTITUTE OF
NEUROLOGICAL DISORDERS AND
STROKE, DR. DAVID LEITMAN, FROM
THE NATIONAL INSTITUTE OF MENTAL
HEALTH.
AND DR. DANIEL LEVITIN, FROM
MINERVA UNIVERSITY AND MCGILL
UNIVERSITY.
AND WE ALSO WANT TO BRING TO THE
STAGE, I BELIEVE, DR. LEVITIN IS
GOING TO START SESSION ONE.
[APPLAUSE]
>> WELCOME TO EVERYONE FOR
SESSION ONE.
I AM GOING TO GIVE A TALK BUT I
HAVE VERY LITTLE TO SAY BECAUSE
DR. COLLINS SAID ALMOST
EVERYTHING THAT I WANTED TO SAY,
BUT IT'S MY DISTINCT PLEASURE
BEFORE ANY OF THAT TO INTRODUCE
SHELLY BERG, MY DEAR FRIEND, DRD
PROFESSOR OF MUSE SICK AT THE
FROST SCHOOL OF MUSIC AT
UNIVERSITY OF MIAMI.
HE HAS PERFORMED AND
COLLABORATED WITH HUNDREDS OF
RENOWNED ARTISTS, INCLUDING
RENEE FLEMING, GLORIA ESTEFAN,
FERRELL WILLIAMS AND ARTURO
SANDOVAL.
SHELLY, TAKE IT AWAY.
[APPLAUSE]
>> THANK YOU, DAN.
OKAY FIRST OF ALL, A LITTLE
EXPERIMENT.
[PLAYING MUSICAL SCALE]
PRETTY POWERFUL IMPULSE, ISN'T
IT?
BUT NOT NECESSARILY IF YOU'RE A
JAZZ MUSICIAN.
♪
>> THE URGE TO GO TO THE NEXT
NOTE JUST DISAPPEARED, DIDN'T
IT?
YEAH.
MUSIC IN ITS CONTEXT IS AMAZING
IN THE EFFECT THAT IT HAS ON
PEOPLE.
I REALIZE THIS IS A TALK OF
PREACHING TO THE CHOIR, AND THEN
I REALIZED, WHY IS THERE A
SAYING PREACHING TO THE CHOIR?
BECAUSE IF YOU PREACH, YOU NEED
A CHOIR.
YOU KNOW, YOU'RE TRYING TO GET
AN AUDIENCE TO TAP INTO
INTANGIBLE.
AND BELIEVE IN IT AND HAVE FAITH
IN IT AND BE UPLIFTED BY IT.
WELL, THAT'S WHAT MUSIC DOES,
BETTER THAN ANYTHING.
SO WE MUSICIANS WHO STUDY THIS
THING, AND THERE ARE PROBABLY
MANY OF THEM IN THE ROOM, WE
LEARN THERE ARE A LOT OF DEVICES
THAT HAVE MUSICAL EFFECTS THAT
HAVE THERAPEUTIC EFFECTS, THAT
ADD UP TO THIS THING THAT WE DO.
I'LL MENTION ONE.
THE OPAGATURA OR SUSPENSION, TWO
SIDES OF THE SAME COIN.
THAT'S WHEN A NOTE ABOVE OR
BELOW THE NOTE OF THE CHORD
TAKES PRECEDENCE BEFORE YOU GET
TO THE RESOLUTION.
SO I USED TO JOKE THERE COULDN'T
HAVE BEEN BARRY MANILOW WITHOUT
THE OPOGOTURA.
HE NEVER WOULD HAVE SUNG JOAT I
LOVE YOU, YES I LOVE YOU, I LOVE
YOU ♪
THOSE ARE ALL CHORD TONES BUT HE
MIGHT HAVE SUPG, ♪
I LOVE YOU, YES I LOVE YOU, I
LOVE YOU, OH YEAH, I LOVE YOU ♪
THAT'S WHAT THE APOGOTURA DOES.
I THINK CHAI COUGHS KEY KNEW IT
WELL IN ROMEO AND JULIET.
HEAR IT?
>> NOTE: I HADN'T PRACTICED
THIS.
AND THEN LOOK AT THAT NOTE YOU
DIDN'T EXPECT IN THE KEY.
BUT THERE ARE MORE IN THIS.
THERE'S ALSO THIS.
♪ CAN YOU FEEL THE LONGING IN
THAT?
WOW!
THAT'S THERAPEUTIC RIGHT THERE.
IT'S AMAZING TO ME.
AND THERE ARE LOTS OF OTHER
DEVICES.
SIMPLE NOTES LIKE -- BUT WHAT IF
YOU CHANGE THE CHORD?
♪ SO MANY CONTEXTS.
TO THE SAME NOTES.
AND THAT'S -- THAT ALLOWS US TO
DIG DEEPER AND DEAPER INTO DEEPO
EMOTIONS.
SO 27 YEARS AGO, A FEW MILES
FROM HERE IN WASHINGTON, D.C., I
WAS AT ANOTHER CONFERENCE,
ADVOCACY FOR MUSIC EDUCATION,
AND I MET MY WIFE JULIA AT THAT
CONFERENCE.
AND THAT WAS A CHEMICAL
REACTION, IT WAS IMMEDIATE.
BUT I DIDN'T KNOW IF I COULD
EVER ACTUALLY BE WITH JULIA, I
JUST THOUGHT WOW, AT LEAST
THERE'S SOMEBODY LIKE THAT THAT
EXISTS IN THE WORLD.
AND I WENT HOME AND WROTE THIS
SONG IN ABOUT AS LONG AS IT TOOK
TO PLAY IT.
I KNOW THAT, YOU KNOW, REPEATING
A MELODY AND CHANGING THE CHORD
UP A HALF STEP OR REPEATING A
MELODY AND MAKING THE CHORD
DARKER, GOING TO THE FOUR CHORD
MAKES IT WARMER, I KNOW ALL
THOSE THINGS, BUT HOW MANY OF
THOSE THINGS WAS I THINKING
ABOUT WHEN I COMPOSED IT?
NONE.
THAT'S WHY I SAY WE HAVE TWO
WELLS, A SPIRITUAL WELL AND A
TECHNICAL WELL.
AND YOU LEARN ALL THE STUFF IN
THE TECHNICAL WELL, BUT WE DO
MUSIC FROM THE SPIRITUAL WELL,
AND WE UNCONSCIOUSLY DRAW FROM
THE TECHNICAL WELL.
SO I WROTE THIS SONG, IMAGINING
WHAT IT WOULD BE LIKE IF JULIA
AND I WERE TOGETHER.
IT'S GOT A GREAT TITLE.
IT'S CALLED "JULIA."
[LAUGHTER]
YOU CAN EVEN HEAR HER NAME IN
IT.
BUT YOU'LL HEAR THE MOTIVE OF
HER NAME AND YOU'LL HEAR IT OVER
DIFFERENT CHORDZ.
AND OVER DIFFERENT THINGS AS I
WAS JUST EXPLORING WHAT THAT
WOULD BE LIKE, AND THEN YOU
COULD HEAR WHERE IT GOES TO A
PARALLEL MINOR, A TOALITY, AND
THAT'S THE ONLY PLACE WHERE
THERE ARE APPOGGIATURAS.
JULIA WAS SUCH A CERTAINTY SHE
DIDN'T NEED IT, BUT THE MINOR
PLACES ARE KIND OF A DREAMY
THING, YOU CAN KIND OF CONOTE IT
HOWEVER YOU'D LIKE.
BUT BASED ON MY REMARKS, I DON'T
WANT TO SAY ANYTHING MORE, I
WILL JUST PLAY JULIA AND MAYBE
IT WILL BE A THERAPEUTIC WAY TO
START THE SESSION.
♪
♪ ♪
♪
[APPLAUSE]
>> THANK YOU, SHELLY.
WHAT A GREAT AND BEAUTIFUL WAY
TO START OFF THE SESSION.
AND THE DAY.
AND I THINK WE'VE GOT OUR WORK
CUT OUT TRYING TO UNDERSTAND
EXACTLY HOW THAT AFFECTS US, ALL
THE DIFFERENT WAYS IT AFFECTS
US.
MY NAME IS BOB RIDDLE.
I'M A PROGRAM DIRECTOR AT NINDS.
AS CATHERINE WAS MENTIONING.
AND TODAY I ALONG WITH DAVID
LEITMAN AND DANIEL LEVITIN ARE
GOING TO BE CO-CHAIRING THE
FIRST SESSION WHICH IS RESEARCH
ON THE SCIENCE OF MUSIC.
WE'RE REALLY GOING TO BE
FOCUSING ON UNDERSTANDING THE
BASIC AND MECHANISTIC MEANS BY
WHICH MUSIC AFFECTS US, AND
WE'RE HOPING THAT WILL BE A
REALLY NICE FOUNDATION AND KIND
OF EFFECT, AS ALL OF THESE
SESSIONS ARE CONNECTED BUT AT
LEAST GIVE US SOMETHING TO START
THINKING ABOUT.
SO IF I COULD HAVE THE FIRST
SLIDE.
SO TODAY WE'RE GOING TO BE
HAVING A SERIES OF SPEAKERS THAT
ARE GOING TO SPEAK ABOUT 10
MINUTES.
WE ASK THAT YOU HOLD OFF ON THE
QUESTIONS UNTIL THE END OF THAT
SESSION.
THERE WILL BE AMPLE TIME FOR
QUESTIONS, THEN THERE'S GOING TO
BE A PANELIST SESSION, THAT'S
WHERE EVERYTHING IS GOING TO
KIND OF OPEN UP AND WE WILL TAKE
MORE QUESTIONS AND TRY TO WEAVE
EVERYTHING TOGETHER.
SO TODAY ONE OF OUR CO-CHAIRS,
DAN LEVITIN, WILL BE THE FIRST
SPEAKER.
AND THEN -- AND YOU CAN SEE, HE
IS AT MINERVA MCGILL, MIMI KAO
IS AT TUFTS, THEN MALINDA
MCPHERSON.
MALINDA IS AT UCSD, I'VE GOT TO
KEEP TO THAT SCHEDULE.
AMY BELLEAMY BELFI IS AT MISSOUI
UNIVERSITY AND EDWARD CHANG IS
AT UCSF.
SO JUST A POINT FOR THE
SPEAKERS, I DO HAVE THE CLOCK
THERE.
WHENEVER YOU HEAR THE DING,
HOPEFULLY YOU DON'T HEAR THE
DING, THAT MEANS YOUR TIME IS
ABSOLUTELY UP.
AND SO I'LL BE OVER HERE TRYING
TO BE POLITELY REMINDING YOU OF
THE TIME, BUT HOPEFULLY IT'S
JUST ALL GOING TO GO SMOOTHLY AS
IT'S BEEN GOING, I BELIEVE WE'RE
ACTUALLY AHEAD OF SCHEDULE A
LITTLE BIT, WHICH I THINK IS A
FIRST FOR AN NIH MEETING.
AND SO WITH THAT, I WILL JUST
HAND THE STAGE OVER TO DAN
LEVITIN, WHO WILL BE OUR FIRST
SPEAKER.
THANK YOU.
[APPLAUSE]
>> SINCE WE'RE RUNNING AHEAD OF
SCHEDULE, I'D JUST LIKE TO USE
10 SECONDS TO SAY I COULDN'T BE
MORE DELIGHTED WITH THE
PANELISTS WE WERE ABLE TO GET TO
FLY IN HERE FOR A SHORT AMOUNT
OF TIME JUST TO MEET WITH ALL OF
YOU AND TO LISTEN TO WHAT YOU
HAVE TO SAY.
WE HAVE AN ALL-STAR SESSION ONE
PANEL, A DREAM TEAM, EACH OF
YOU, THANK YOU FOR COMING.
I'VE BEEN SO LOOKING FORWARD TO
THIS.
AND I'D ALSO LIKE TO CEDE
15 SECONDS OF MY TIME JUST TO
APPRECIATE SHELLY BERG.
[APPLAUSE]
I'M GOING TO TRY TO GIVE A QUICK
OVERVIEW ABOUT WHAT WE KNOW
ABOUT MUSIC AND THE BRAIN AND
TRY NOT TO STEP ON ANY OF THE
THINGS THAT FRANCIS SAID.
BUT ONE THING THAT HE DID SAY,
NOT THIS MORNING BUT I THINK IS
IMPORTANT FOR ALL OF US TO HEAR,
WHEN THIS WHOLE INITIATIVE
STARTED, FRANCIS GAVE SOME WORDS
THAT I THINK CAPTURE WHY WE'RE
HERE TODAY AND WHAT WE HOPE TO
ACCOMPLISH.
SOLVING HEALTH PROBLEMS WITH
MUSIC RATHER THAN WITH DRUGS,
PROVIDING THERAPY THAT IS
SPIRITUALLY UPLIFTING AND
JOYFUL.
NOW, IF THAT ISN'T A GOOD
MANDATE, I DON'T KNOW WHAT IS.
SO WHAT DO WE KNOW ABOUT MUSIC
AND THE BRAIN?
WELL, FOR ONE THING, MUSIC IS
BILATERAL.
20 YEARS AGO, WE'D TALK ABOUT
REGIONS OF THE BRAIN THAT WERE
RESPONSIBLE FOR PARTICULAR
COGNITIVE FUNCTIONS, BUT IN THE
LAST FIVE TO SEVEN YEARS, WE'VE
COME TO UNDERSTAND THAT THESE
OPERATIONS OCCUR IN SPATIALLY
DISTRIBUTED NETWORKS.
CIRCUITS THAT CONNECT DIFFERENT
COMPUTATIONAL HUBS THROUGHOUT
THE BRAIN.
STILL, IT CAN BE USEFUL TO TALK
ABOUT THE LOCATIONS OF SOME OF
THESE COMPUTATIONAL HUBS BECAUSE
FROM A CLINICAL STANDPOINT,
DAMAGE TO THESE HUBS CAN CAUSE
IMPAIRMENTS IN SPECIFIC
FUNCTIONS.
WHAT YOU'RE LOOKING AT HERE, BY
THE WAY, IS STING'S BRAIN, WHEN
HE CAME INTO THE LABORATORY.
ONE IMPORTANT POINT IS THAT THE
POPULATIONS OF NEURONS IN
VARIOUS REGIONS FIRE IN SYNCH
SYNCHRONY TO THE TEMPLE OF
MUSIC, TO THE BEAT.
ATHLETES FIGURED THIS OUT A LONG
TIME AGO, ESPECIALLY RUNNERS.
IF THEY LISTEN TO MUSIC WITH A
TEMPO SLIGHTLY FASTER THAN THEIR
NATURAL RUNNING GAIT, THEY CAN
INCREASE THEIR SPEED BECAUSE
THEY BOOTSTRAP ON THESE NEURAL
SYNCRO KNEES.
ANOTHER IMPORTANT FINDING,
INTERSUBJECT SYNCHRONIZATION IN
THREE PRIMARY BRAIN REGIONS,
INSULAR CORTEX, INFERIOR FRONTAL
GYRUS, HESCHEL'S GYRUS.
WHEN PEOPLE LISTEN TO MUSIC
TOGETHER, THEIR BRAINWAVES
LITERALLY SYNCHRONIZE.
GETTING TO THE COMPUTATIONAL
HUBS, THIS IS AN OVERVIEW OF
THEM.
IT'S A LOT TO TAKE IN IN ONE
SLIDE.
I'LL BE HAPPY TO PROVIDE THIS AS
A HANDOUT OR EMAIL TO ANYONE
WHO'S INTERESTED, BUT I'LL START
BUILDING IT UP FOR YOU.
MUSIC PROCESSING STARTS HERE.
IN THE AUDITORY CORTEX.
FROM HERE, THE SIGNAL IS SENT TO
A SET OF SPECIAL PURPOSE
PROCESSING CIRCUITS THAT
SEPARATELY EXTRACT PITCH,
LOUDNESS, TEMPO, TAMBER, MELODY
AND SO OH, AND T ON, AND THOSE S
ARE COMBINED LATER.
WHATEVER IT IS IN MUSIC THAT'S
ENGAGING, EMOTIONAL OR SOCIAL,
FOR INSTANCE, IS PROBABLY NOT
ONE OF THOSE BUILDING BLOCKS.
IT'S NOT SIMPLY RHYTHM OR
SPECIAL FREQUENCIES.
IT IS THE END STAGE OF A NUMBER
OF DIFFERENT ELEMENTS THAT COME
TOGETHER TO MAKE IT SO.
MEMORY FOR OTHER MUSIC THAT
YOU'VE HEARD AND ASSOCIATIONS
YOU HAVE WITH OTHER EVENTS AND
SENSORY EXPERIENCES COME
TOGETHER IN THESE HUBS.
AS WE LISTEN TO MUSIC IN
PREFRONTAL CORTEX, PARTICULARLY
BROADBAND AREAS 47 AND 44,
THAT'S WHERE WE'RE FORMING
PREDICTIONS ABOUT WHAT COMES
NEXT.
EVEN IF YOU'RE NOT A MUSICIAN,
THOSE AREAS ARE AT WORK TRYING
TO FIGURE OUT WHAT'S GOING TO
COME NEXT.
AND AS THOSE PREDICTIONS ARE
EITHER CONFIRMED OR VIOLATED,
THEY FEED INTO REWARD NETWORKS
IN THE BRAIN.
HERE WE ALSO SEE THAT THERE ARE
CONTRIBUTIONS OF MOTOR CORTEX
FOREFOOT TAPPING, DANCING,
PLAYING AN INSTRUMENT.
THE CEREBELLUM IS ALSO INVOLVED
IN MOVEMENT.
WE'VE GOT SENSORY FEEDBACK FROM
PLAYING AN INSTRUMENT AND
DANCING.
VISUAL PERCEPTION IS INVOLVED
WHEN WE READ MUSIC, WHEN WE
WATCH A PERFORMANCE, WHEN WE
WATCH OTHERS AROUND US.
ENJOYING
A PERFORMANCE, OR SOMETIMES
WALKING OUT OF ONE.
[LAUGHTER]
THE CEREBELLUM IS INVOLVED IN
MEDIATING EMOTIONS THROUGH
CONNECTIONS WITH THE PREFRONTAL
CORTEX AND LIMBIC SYSTEM, AND IF
WE OPEN UP THE BRAIN AND WE PEER
INSIDE, WE SEE THAT MUSIC
ACTIVATES THE WELL-KNOWN
PLEASURE CENTERS OF THE BRAIN.
THE NUCLEUS ACCUMBENS, THE
AMYGDALA AND THE VENTRAL
TEGMENTAL AREA.
THESE REWARD CIRCUITS HAVE BEEN
KNOWN FOR DECADES SINCE THE WORK
OF MILNER AND OLDES, THEY USED
TO BE THOUGHT TO BE ACTIVATED
JUST BY SEX AND DRUGS BUT WE
ADDED ROCK AND ROLL TO THE
CHARACTERIZATION.
THIS IS AN OVERVIEW, AGAIN, OF
THE REWARD CIRCUITS, AND THIS IS
A SCAN SHOWING, FROM OUR LAB,
MUSIC MORE SO THAN SPEECH
ENGAGES EMOTIONAL CENTERS THAT
MEDIATE REWARD AND AROUSAL, THE
SAME NETWORKS ASSOCIATED WITH
EATING CHOCOLATE, TAKING OPIUM,
AND HAVING SEX.
LISTENING TO MUSIC ALSO
FACILITATES ENTRY INTO THE
DEFAULT MODE NETWORK.
MEDIAL PREFRONTAL CORTEX,
ANTERIOR AND POSTERIOR CORTEX,
ANGULAR GYRUS.
THE DEFAULT MODE NETWORK IS AN
ESSENTIAL PART OF OUR DAILY LI
LIFE.
IT'S THE PART OF US THAT GOES
INTO DAY DREAMING.
IT'S THE PART WHERE A LOT OF
PROBLEM SOLVING HAPPENS.
IT'S WHAT HAPPENS TO YOU
AUTOMATICALLY WHEN YOU'RE NOT
EXERTING CONTROL THROUGH WHAT WE
CALL THE CENTRAL EXECUTIVE
NETWORK, YOU SLIP INTO THAT.
AND WHAT WE FOUND IS THAT THIS
DEFAULT MODE NETWORK DISCOVERED
BY THE NODE MENON AND MARCUS
REICHEL IS THAT YOU NEED IT.
IF YOU FIND YOURSELF STRESSED
OUT OR CAN'T FOCUS, LISTENING TO
MUSIC IS ONE OF THE BEST WAYS TO
GET THERE.
LET'S LOOK AT THE EFFECTS OF
MUSIC ON BODY AND BRAIN
CHEMISTRY IN THIS WHISTLE STOP
TOUR.
IMMUNOGLOBULIN A LEVELS HAVE
BEEN SHOWN TO INCREASE FOLLOWING
MUSIC THERAPY, IGA IS AN
IMPORTANT ANTIBODY NEEDED FOR
FIGHTING INFECTIONS OF THE
MUCOSAL SYSTEM SUCH AS COVID.
EPINEPHRINE AND NOREPINEPHRINE
CAN ARISE FOLLOWING MUSIC
THERAPY.
THEY AFFECT ALERTNESS AND
AROUSAL.
MELATONIN, AS YOU KNOW, HELPS
REGULATE SLEEK/W SLEEP/WAKE CYC.
IT CAN INCREASE FOLLOWING
CERTAIN KINDS OF MUSIC THERAPY.
MELATONIN IS PUTATIVELY LINKED
TO INCREASES IN CYTOKINE
PRODUCTION WHICH IN TURN SIGNAL
T CELLS TO TRAVEL TO THE SITE OF
AN INFECTION.
WHAT ABOUT MUSIC AND MOOD?
WELL, SAIR SEROTONIN AND DOPAME
LEVELS INCREASE FOLLOWING PLESH
RABL MUSIC LISTENING.
SEROTONIN HELPS TO REGULATE
MOOD, DOPAMINE, PLEASURE AND
ATTENTION.
CORTISOL LEVELS CAN DROP
FOLLOWING MEDITATIVE MUSIC.
WHAT ABOUT MUSIC AND PAIN?
IN A META-ANALYSIS ON
PERIOPERATIVE PAIN, MUSIC WAS
FOUND TO REDUCE PAIN ON AVERAGE
BY 1.4 POINTS ON THIS SCALE.
MUSIC AND ANXIETY IN A
PREOPERATIVE SETTING, MUSIC WAS
FOUND TO BE AS EFFECTIVE AS
DIAZEPAM, VALIUM, IN REDUCING
STRESS AND ANXIETY.
IF YOU WANT TO BUY A VALIUM AT
THE DRUGSTORE, IT MIGHT BE $5.
IF YOU HAVE TO GET ONE IN THE
HOSPITAL, IT'S PROBABLY GOING TO
BE $750.
FOR THAT SAME PILL, WHEN YOU
COULD HAVE MUSIC FOR, WELL, 99
CENTS OR FREE.
I WANT TO TAKE A MOMENT IN
ADVANCE OF OUR SESSION AND THE
SESSIONS THAT FOLLOW JUST TO
SPECULATE ON HOW MUSIC THERAPY
MIGHT WORK.
MUSIC ALLOWS US TO TAP INTO
SOMETHING PRIMAL, UNIVERSAL, AND
PROFOUNDLY MYSTERIOUS.
AND THAT MYSTERY IS DELIVERED BY
MUSIC'S INHERENT AMBIGUITY.
AS SHELLY BERG SO BEAUTIFULLY
POINTED OUT.
MUSIC DOESN'T MEAN ANYTHING IN A
CONVENTIONAL SENSE.
IT'S NOT A REFLECTION OF OUR
EMOTIONS, BUT A WINDOW INTO TH
THEM.
AMBIGUITY IN MUSIC IS NOT AN
ERROR IN OUR COGNITIVE
APPARATUS, BUT A FEATURE THAT
PULSE US DEEPER INTO A STATE OF
INTERROW SPECS.
IT TOYS WITH OUR EVOLUTIONARY
PATTERN SEEKING INSTINCTS.
IT CHALLENGES US TO DISCERN
MEANING IN A MEDIUM THAT IS
ENTIRELY SUBJECTIVE.
ULTIMATELY, MUSIC CAN DO SO MANY
THINGS BECAUSE IT CAN MEAN SO
MANY THINGS.
IT IS INTENTIONALLY AMBIGUOUS.
IT DOES NOT EXPLICITLY REFER TO
ANY CONCRETE OBJECT IN THE
WORLD.
IT REFERS TO METAPHORICAL AND
EMOTIONAL ONES.
IT'S RICH WITH POSSIBILITIES FOR
INTERPRETATION.
WE CAN CHOOSE TO LIKE OR REJECT
A PIECE OF MUSIC, TO FALL IN
LOVE WITH IT, TO TIRE OF IT.
IT CAN TAKE DIFFERENT MEANINGS
AS OUR BRAIN CHANGES, AS WE
REACT TO THE INTRICACIES OF LIFE
AND LOVE, OF MEMORIES AND
RELATIONSHIPS, AND IT IS AMONG
THE MOST INTIMATE ART FORMS.
VISION, FOR SOME REASON, WHEN WE
SEE THINGS, IT FEELS LIKE
THEY'RE OUT THERE IN THE WORLD
THE WAY DUE TO OUR RETINA EVO
EVOLVED, BUT THE SOUND FEELS
LIKE IT'S COMING INSIDE OUR
HEADS.
IT FEELS LIKE IT'S INSIDE OF US.
I'VE NEVER HEARD OF SOMEONE WHO
GETS PICTURES STUCK IN THEIR
HEADS, ALTHOUGH I IMAGINE THEY
DO BUT ONCE MUSIC GETS IN THERE,
IT STAYINGS IN THERE.
JUST TO GIVE YOU A SENSE OF THIS
AMBIGUITY IN ANOTHER MODALITY,
THIS IS A PAINTING BY ART
SHIMBALDO.
CONSIDER WHAT IT MEANS TO, IN
THIS VIEW, AND NOW IF I ROTATE
IT, YOU SEE SOMETHING DIFFERENT,
AND IF I ROTATE IT AGAIN, AND
MUSIC AS SHELLY ILLUSTRATED IS
ALL ABOUT TRANSFORMATIONS AND
ROTATIONS.
THANK YOU VERY MUCH.
[APPLAUSE]
>> I'D FIRST LIKE TO START BY
THANKING THE ORGANIZERS FOR
ARRANGING THIS MEETING AND
GIVING ME THE OPPORTUNITY TO
TELL YOU A LITTLE BIT ABOUT THE
WORK THAT WE'VE BEEN DOING IN MY
LAB USING SOUND BIRDS AS AN
ANIMAL MODEL SYSTEM TO
UNDERSTAND AUDITORY MOTOR
INTERACTIONS DURING RHYTHM
PERCEPTION.
I JUST WANT TO MENTION AT THE
OUTSET THAT THE WORK THAT I'M
GOING TO BE PRESENTING TODAY IS
IN COLLABORATION WITH ANI PATEL,
WHO IS A COGNITIVE
NEUROSCIENTIST AT TUFTS WHO HAS
BEEN STUDYING THE NEUROSCIENCE
OF HUMAN MUSIC COGNITION FOR
MANY YEARS.
I'M NOT SURE -- I THINK THIS IS
ADVANCING BEFORE I AM ADVANCING
IT.
BUT I'LL JUST SAY THAT MUSIC
ACROSS THE WORLD IS
CHARACTERIZED BY PERIODIC
AUDITORY RHYTHMS.
AND RHYTHM PERCEPTION IS FUND
MENTAL TO MUSIC.
PEOPLE CAN READILY RECOGNIZE
PERIODIC AUDITORY RHYTHMS SUCH
AS THAT OF A FAVORITE SONG,
INDEPENDENT OF THE RATE AT WHICH
IT'S PLAYED.
SO IF IT'S PLAYED FASTER OR
SLOWER, YOU RECOGNIZE IT AS THE
SAME RHYTHM.
AND IT IS ACTUALLY ADVANCING
WITHOUT ME.
I'LL JUST KEEP GOING AS THIS
GETS FIXED.
THIS ABILITY TO DETECT RHYTHMIC
MA TERNS IS PRESENT EVEN IN
INFANTS AND IT DEPENDS ON THE
ABILITY TO DETECT THE RELATIVE
TIMING OF INTERVANS. INTERVALS.
AS DAN MENTIONED PEOPLE
SPONTANEOUSLY SYNCHRONIZE THEIR
MOVEMENTS TO MUSIC.
THIS SPONTANEOUS MOVEMENT TO THE
BEAT SUGGESTS THERE ARE STRONG
AUDITORY CONNECTIONS BETWEEN
AUDITORY AND MOTOR REGIONS IN
THE BRAIN.
I WANTED TO PLAY A SHORT VIDEO
FOR YOU OF A PATIENT WITH
PARKINSON'S DISEASE AND I'LL
JUST DESCRIBE IT INSTEAD OF
SHOWING TO YOU.
IT'S A HOME VIDEO THAT SHOWS THE
PATIENT WALKING AND HE HAS
PROBLEM WITH MOVEMENT
INITIATION, A SHUFFLING GAIT,
AND THEN PARTWAY THROUGH THE
VIDEO, SOMEONE PLAYS A SONG THAT
HAS A STRONG BEAT, AND
IMMEDIATELY YOU CAN SEE THAT HE
STARTS MOVING TO THE BEAT.
HE HAS REALLY FLUID MOVEMENTS,
THE VARIATION IN HIS MOVEMENTS
IS MUCH GREATER, AND IT'S JUST A
REALLY POWERFUL EXAMPLE OF HOW
MOVEMENT CAN GET YOU MOVING,
RIGHT, CAN GET YOU MOVING TO THE
BEAT.
AND THE QUESTION IS, HOW?
HOW DOES DETECTION OF THIS
RHYTHMIC AUDITORY PERCEPTION
THEN FACILITATE MOVEMENT?
WHAT ARE THE NEURAL MECHANISMS
AND CIRCUITS THAT ARE INVOLVED
IN RHYTHM DETECTION?
SO NOW I'M ON THE SLIDE THAT I
HOPE TO BE ON, AND I WANTED TO
REMIND YOU OF SOME OF THE KEY
COGNITIVE FEATURES OF RHYTHMIC
PATTERN PERCEPTION.
THE FIRST IS THAT IT'S
PREDICTIVE.
PEOPLE RECOGNIZE A PERIODIC
PULSE, AND THIS IS NOT JUST DUE
TO PASSIVE SENSATION.
INSTEAD, THE BRAIN IS ACTIVELY
PREDICTING THE TIMING OF
UPCOMING EVENTS.
AND YOU CAN TEST THIS SIMPLY IN
AN EXPERIMENT WHERE YOU ASK
PEOPLE TO TAP TO A MET TROA
NOME.
THE TIMING AT WHICH THEIR TIMING
IS QUITE PRECISE BUT IT USUALLY
PRESIDES THE SOUND, SO THEY'RE
ANTICIPATING THE TIMING OF THE
EVENT.
NOT ONLY THAT, THE RHYTHM
PERCEPTION IS ALSO
TEMPO-FLEXIBLE.
SO IT IS ROBUST ACROSS A RANGE
OF TEMPOS.
IF YOU NEED UP THE METRONOME OR
SLOW IT DOWN, PEOPLE CONTINUE TO
TAP IN SYNC WITH THE METRONOME,
STILL TAPPING IN A PREDICTIVE
MANNER.
IT JUST WENT WITHOUT ME.
SO BEAT PERCEPTION SEEMS TO BE A
FORM OF RELATIVE TIMING WHEN
YOU'RE DETECTING SEEMS TO BE A
FORM OF RELATIVE TIMING, THIS IS
VERY DIFFERENT FROM ABSOLUTE OR
SINGLE INTERVAL TIMING.
A CLASSIC EXAMPLE OF THAT IS
LEARNING THE TIMING OF THE
YELLOW LATES IN TRAFFIC SIGNALS
IN YOUR NEIGHBORHOOD.
YOU'RE LEARNING THE TIMING OF A
SINGLE DURATION, WHICH IS VERY
IMPORTANT AND YOU CAN DO THIS
WITH EXPERIENCE.
BUT THIS CONTRASTS SHARPLY WITH
RELATIVE TIMING WE CAN USE THE
EXAMPLE OF HAVING TWO DIFFERENT
METRO NOMES, A FAST ONE AND A
SLOW ONE.
FROM THE POINT OF VIEW OF
ABSOLUTE TIMING, THESE TWO
PATTERNS ARE COMPLETELY
DIFFERENT.
THEY DON'T SHARE ANY INTERVAL IN
COMMON.
BUT FROM THE POINT OF VIEW OF
RELATIVE TIMING, THEY'RE THE
SAME.
THE SAME INTERVAL IS REPEATED
OVER AND OVER AGAIN IN BOTH
CONDITIONS.
AND THERE'S A LOT OF RESEARCH
SHOWING THAT THE NEURAL
SUBSTRATES THAT UNDERLIE
RELATIVE TIMING AND ABSOLUTE
TIMING CAN HAVE PARTLY DISTINCT
NEURAL MECHANISMS.
NEXT SLIDE, ALL RIGHT!
SO, OVER THE LAST 20 YEARS,
THERE'S BEEN A LOT OF RESEARCH
SHOWING THAT PERCEPTION OF
PERIODIC MOVEMENTS, AUDITORY
RHYTHMS, STRONGLY ENGAGES BOTH
THE AUDITORY SYSTEM AND THE
MOTOR SYSTEM.
SO NEUROIMAGING STUDIES IN
HUMANS HAVE SHOWN THAT WHEN
PEOPLE ARE LISTENING TO AUDITORY
STIMULI THAT HAVE A STRONG BEAT,
A STRONG PERIODIC PULSE, THAT
THAT ACTIVATES MOTOR PLANNING
REGIONS SUCH AS THE PREMOTOR
CORTEX AND SUPPLEMENTARY AREA,
ALSO THE BASAL GANGLIA, MORE
THAN IF THEY'RE LISTENING TO
MUSIC WITHOUT A STRONG BEAT.
AND THIS IS TRUE EVEN IF PEOPLE
AREN'T MOVING.
AND IF THEY'RE JUST LISTENING.
SO WHAT'S GOING ON?
WHY IS THE MOTOR SYSTEM ACTIVE
DURING BEAT PERCEPTION EVEN
WITHOUT MOVEMENT?
SO ANNI PATEL AND JOHN IEFER SON
IN 2014 SUGGESTED THAT THE MOTOR
SYSTEM MIGHT BE PLAYING A CAUSAL
ROLE IN RHYTHM PERCEPTION AND IT
IS INVOLVED IN PREDICTING THE
TIMING OF UPCOMING BEATS.
SO THE IDEA IS THAT THE MOTOR
SIGNAL SYSTEM IS GETTING SIGNALS
FROM THE AUDITORY SYSTEM, USING
THOSE TO PREDICT THE TIMING OF
UPCOMING EVENTS AND SENDING
THOSE SIGNALS BACK TO THE
AUDITORY SYSTEM.
SO THERE'S THIS TIGHT TWO-WAY
CONNECTION BETWEEN AUDITORY AND
MOTOR AREAS.
AND WHILE THERE'S A LOT THAT'S
BEEN LEARNED IN STUDY WITH
HUMANS ABOUT THE NEURAL BASIS OF
RHYTHM PERCEPTION, IT MIGHT BE
REALLY USEFUL TO HAVE AN ANIMAL
MODEL SYSTEM BECAUSE IT WOULD
ALLOW MORTEM PORL RESOLUTION,
SPATIAL RESOLUTION, AND THE
ABILITY TO MODIFY THESE CIRCUITS
TO UNDERSTAND THE UNDERLYING
MECHANISMS.
SO IN MY LAB, ANI AND I HAVE
BEEN TRYING TO FIGURE OUT
WHETHER VOCAL LEARNING SONG
BIRDS WOULD BE A PROMISING MODEL
FOR STUDYING RHYTHM PERCEPTION.
LIKE HUMANS, SONG BIRDS LEARN
THEIR VOCALIZATIONS AND THEY USE
RHYTHMICALLY TIMED VOCAL
SEQUENCES FOR COMMUNICATION.
LIKE HUMANS, SONG BIRDS HAVE
SPECIALIZED AREAS IN THEIR
BRAINS FOR LEARNING AND
PRODUCING THE SOUNDS.
SO HERE, I'M SHOWING YOU A
SCHEMATIC OF THE SONG BIRD BRAIN
ON THE RIGHT, IT'S IN THE
SAGITTAL SECTION, BEAK IN THE
FRONT, CEREBELLUM IN THE BACK,
AND THE AREAS THAT I'M SHOWING
YOU ARE PART OF THIS DISCRETE --
IT'S A DISCRETE SET OF REGIONS
THAT IS REQUIRED FOR VOCAL
LEARNING.
THE REGIONS IN BLACK ARE THE
MOTOR AREAS, AND THEY, FOR
EXAMPLE, THAT PREMOTOR NUCLEUS
HVC RECEIVES INPUT FOR AUDITORY
REGIONS AND IT SENDS A
RECIPROCAL CONNECTION BACK TO
AUDITORY REGIONS.
THERE'S ALSO A CIRCUIT SHOWN IN
RED WHICH IS A BASAL GANGLIA
THALAMOCORTICAL CIRCUIT THAT'S
ALSO CRITICAL FOR VOCAL
LEARNING.
SO THESE REGIONS, PREMOTOR
REGIONS, BASAL GANGLIA REGIONS
THAT ARE NECESSARY FOR VOCAL
LEARNING AND PRODUCTION IF
SONGBIRDS ARE THE SAME REGIONS
THAT ARE ACTIVE WHEN HUMANS ARE
LISTENING TO RHYTHMIC AUDITORY
PATTERNS.
SO IN THE NEXT FEW MINUTES, I'LL
I'M GOING TO TELL YOU ABOUT OUR
EFFORTS TO TRY AND SEE WHETHER
OR NOT VOCAL LEARNING SONGBIRDS
CAN RECOGNIZE A RHYTHMIC PATTERN
IN A TEMPO FLEXIBLE MANNER AND
IF SO, WHAT'S THE ROLE OF THE
MOTOR SYSTEM?
SO OUR TASK THEN WAS TO TRAIN
ZEBRA FINCHES THE MOST WIDELY
STUDIED ANIMAL MODEL SYSTEM FOR
VOCAL LEARNING AND ASK THEM CAN
THEY RECOGNIZE A FUNDAMENTAL
RHYTHMIC PATTERN, CAN THEY
RECOGNIZE THIS IN A
TEMPO-FLEXIBLE MANNER.
SO WE USE THIS SYSTEM WHERE WE
MADE SEQUENCES OF ZEBRA FINCH
SORNG ELEMENTS WHICH ARE SHOWN
ON THE TOP.
SO THOSE ARE SPECTROGRAMS OF
FIVE DIFFERENT SONG ELEMENTS OF
MALE ZEBRAFISH AND WE
CONSTRUCTED SEQUENCES AT TWO
DIFFERENT TEMPI, ONE AN INTERVAL
OF 120 OR 180 MILLISECONDS AND
WE JUST REPEATED ONE SONG
ELEMENT OVER AND OVER AGAIN TO
PRODUCE AN ISOCHRONOUS AND
RHYTHMIC PATTERN.
THEY WERE SUPPOSED TO PECK
ANOTHER KEY AND THEY WOULD GET A
WATER REWARD.
IF THEY HEARD IN A RHYTHMIC
STIMULUS, THEY WERE SUPPOSED TO
WITHHOLD THEIR RESPONSE.
SO IT'S A SIMPLE TASK.
PECK FOR ISOCHRONOUS RHYTHMS,
DON'T RESPOND TO ARRHYTHMIC STIM
LINE.
TO DO THIS TRAINING, IT WAS A
LITTLE BIT COMPLICATED.
WE USED A SEQUENTIAL TRAINING
PARADIGM WHERE WE TRAIN BIRDS ON
SOUNDS CONSTRUCTED OF ONE SONG
ELEMENT, FOR EXAMPLE, SOUND A AT
THESE TWO DIFFERENT RATES.
ONCE THEY COULD TELL THE STIMULI
APART, WE GAVE THEM A WHOLE NEW
SET OF STIMULI, NOW CREATED WITH
SOUND B, SAME TEMPO, SAME SETUP,
TWO EYE SOCK NUSS STIMULI, TWO
ARRHYTHMIC STIMULI, DIFFERENT
ONCE FROM BEFORE.
WE TRAINED THEM ON THREE
DIFFERENT SOUNDS.
BUT THE TEST THEN IS TO ASK WHAT
HAPPENS IF WE PLAY ISOCHRONUS
AND ARRHYTHMIC STIM LINE AT A
NEW TEMPO, ONE THEY HADN'T HEARD
BEFORE, BECAUSE THIS IS THE TEST
OF RELATIVE TIMING.
DO THEY STILL CATEGORIZE THESE
STIMULI AS ISOCHRONOUS VERSUS
ARRHYTHMIC.
THE SYSTEM WAS SET UP TO TRY TO
INCENTIVIZE BIRDS TO PAY
ATTENTION TO TEMPORAL PATTERN
AND NOT ACCUSTOMED FEATURES OR
AMPLITUDE.
SO HERE IS AN EXAMPLE OF A
LEARNING CURVE FROM ONE MALE
ZEBRA FINCH.
YOU CAN SEE IT TOOK HIM SEVERAL
THOUSAND TRIALS TO LEARN TO
DISCRIMINATE CONSISTENTLY THE
STIMULI.
WE GAVE THEM A SECOND -- IT
SEEMED LIKE THEY HAD TO LEARN IT
ALL OVER AGAIN.
BY THE THIRD PHASE, THERE'S SOME
SAVINGS. WE DID THIS WITH 10
MALE BIRDS.
SEVEN WERE ABLE TO COMPLETE OUR
TRAINING STIMULUS.
SO WHAT HAPPENED WITH THE PROBE
STIMULUS?
WHAT HAPPENS IF WE PLAY NEW
SOUNDS AT A DIFFERENT TEMPO?
THE DATA ARE SHOWN HERE.
IT'S A LITTLE COMPLICATED BUT
HERE I'M SHOWING YOU THE
PROPORTION OF CORRECT RESPONSES,
AND EACH CIRCLE IS DATA FROM A
SINGLE BIRD.
AND THE DATA THAT WERE FOR THE
PROBE TRIALS WHEN HE'S LISTENING
TO A NOVEL TEMPO ARE SHOWN BY
THE LIGHT GREY BARS AND THE
TRAINING STIMULI ARE IN THE DARK
GREY BARS.
THE DASHED LINE SHOWS
PERFORMANCE AT CHANCE.
SO I HOPE YOU CAN SEE THAT THESE
BIRDS WERE READILY ABLE TO
DISCRIMINATE BETWEEN AN
ISOCHRONOUS AND ARRHYTHMIC
STIMULUS, EVEN WHEN THEY'RE
PRESENTED WITH STIMULUS AT A
NOVEL TEMPO.
IT DIDN'T MATTER IF WE TRAINED
THE BIRDS FIRST WITH A, B AND C
OR IF WE CHANGED THE ORDER IN
WHICH WE TRAINED THEM.
IN ALL BUT ONE OF THE CASES, THE
BIRDS WERE ABLE TO DO THIS
DISCRIMINATION.
ALL RIGHT.
SO NOW WHAT YOU REALLY WANT TO
KNOW IS WHAT HAPPENS IF WE TEST
THEM WITH A BROAD RANGE OF
TEMPI?
WE'RE GOING TO CREATE A BANK OF
STIM LINE WITH A NEW SOUND THEY
HADN'T HEARD BEFORE AND WE
GENERATED THIS OVER A RANGE FROM
75 MILLISECONDS TO
275 MILLISECONDS INTERONSET
INTERVAL.
SO THERE ARE 402 DIFFERENT STIM
LINE, 201 TEMPI, AND HERE'S THE
DATA FOR THE MALE BIRDS.
I LIKE TO THINK OF THIS AS A
TUNING CURVE FOR RHYTHM
PERCEPTION.
THE BIRDS WERE ABLE TO
SUCCESSFULLY DISCRIMINATION THE
ISOCHRONOUS STIMULUS ACROSS A
REALLY BROAD RANGE OF STIMULI,
FAR BEYOND THE TYPICAL RATE OF
ZEBRA FINCH SONG AND BEYOND THE
TRAINING STIMULI THAT WE USED.
NOW, WE WEREN'T SURPRISED THAT
THEIR PERFORMANCE FELL TO CHANCE
WHEN THE TEMPO WAS REALLY FAST,
AND THAT'S BECAUSE OUR STIMU
STIMULI -- THE INTERVALS WERE
VERY SHORT.
BUT WHAT WAS INTERESTING WAS
LIKE HUMANS, WHEN THE TEMPO WAS
REALLY SLOW, THEY STILL DIDN'T
GET IT.
THAT'S TRUE FOR HUMANS WHEN THE
INTERVALS ARE GREATER THAN
2 SECONDS OR 3 SECONDS.
OKAY.
SO I'VE SHOWN YOU THAT MALE
ZEBRA FINCHES CAN RECOGNIZE THIS
RHYTHMIC PATTERN IN A TEMPO
FLEXIBLE MANNER AND THE NEXT
QUESTION IS, IS THE MOTOR SYSTEM
PLAYING A ROLE IN THIS?
I ONLY HAVE ONE MINUTE LEFT, SO
I'M GOING TO TELL YOU WE TOOK
ADVANTAGE OF SEX DIFFERENCES IN
ZEBRA FINCHES.
MALES LEARNED TO SING, FEMALES
DON'T.
THE SONG SYSTEM, THOSE MOTOR
PLANNING REGIONS IN THE BASAL
GANGLIA, ARE MUCH LARGER IN
MALES COMPARED TO FEMALES.
BUT THE FUNCTIONAL CONNECTIVITY
IS STILL THE SAME POTENTIALLY,
BECAUSE ALL OF THE CONNECTIONS
ARE THERE, AND SO THE QUESTION
WAS, CAN FEMALES DO THIS TASK?
AND CAN THEY DO IT AS WELL AS
THE MALES? SO HERE'S THE DATA.
THE MALE DATA IS REPLOTTED FOR
YOU IN WHITE.
THE GREY BARS SHOW THE DATA FOR
THE FEMALE.
THEY CAN DO IT, JUST LIKE THE
MALES.
OVER A BROAD RANGE OF
FREQUENCIES, THEY ARE ABLE TO
DETECT AND RECOGNIZE ISOCHRONY.
THEY'RE NOT AS GOOD AS THE MALES
ON AVERAGE BUT THIS IS
CONSISTENT WITH REDUCED AUDITORY
MOTOR CIRCLE TR CIRCUITRY IN FE.
SO I HOPE I'VE CONVINCED YOU
USING SONG BIRDS IS A PROMISING
ANIMAL MODEL FOR STUDYING
AUDITORY MOTOR INTERACTIONS AND
OUR GOAL IS TO DO RECORDINGS IN
THE BRAIN IN AUDITORY REGIONS
AND PREMOTOR REGIONS TO SUE HOW
IS THE ACTIVITY IN THE PREMOTOR
REGION SHAPING AUDITORY
RESPONSES.
THANK YOU.
[APPLAUSE]
>> THANK YOU SO MUCH, MIMI.
I'M REALLY SORRY ABOUT THE
COMPUTER ISSUE.
WE'LL TRY TO GET THAT WORKED
OUT.
A LITTLE IRONIC TO HAVE PROBLEMS
WITH RHYTHM IN THAT TALK.
[LAUGHTER]
SO WE'RE GOING TO TAKE A REALLY
SHORT 15-MINUTE BREAK HERE, AND
THEN WE'LL COME RIGHT BACK AND
WE WILL START IN 15 MINUTES.
SO THANKS FOR THE FIRST COUPLE
TALKS AND WE'VE GOT MORE IN
SESSION ONE AFTER THAT.
THANKS.
RETURNING BACK TO OUR SESSION
ONE SCHEDULE, I'M GOING TO BRING
ON DR. ROBERT RIDDLE, WHO'S
GOING TO TAKE OVER AND GET US
GOING.
>> HI, EVERYBODY.
WELCOME BACK.
I KNOW THAT WAS A QUICK BREAK,
BUT WE'VE GOT A LOT OF REALLY
COOL TALKS TO HEAR.
AND SO WE'RE GOING TO GO AHEAD
AND START WITH THE NEXT SPEAKER.
JUST TO REMIND YOU, AFTER THE
SESSIONS, THE TALKS, WE'RE GOING
TO HAVE A PANELIST SESSION AS
WELL, AND THEN WE'RE GOING TO
ASK YOU THAT YOU HOLD YOUR
QUESTIONS THROUGH ALL THAT.
REMEMBER THE ONES THAT REALLY
STUCK WITH YOU, AND WE'RE GOING
TO HAVE A LOT OF TIME AFTER THE
PANELISTS GIVE A BRIEF
INTRODUCTION TO ASK ALL THE
QUESTIONS, WE'LL ALL BE SITTING
AT THE FRONT.
SO WE'RE TRYING TO KEEP ON
SCHEDULE BUT WE DO HAVE SOME
BITS BUILT IN THERE TO ACTUALLY
ASK SOME QUESTIONS AND HAVE SOME
DISCOURSE.
SO THE NEXT SPEAKER IS MALINDA
MCPHERSON, AND WITHOUT FURTHER
ADO, SHE'S GOING TO TELL US
ABOUT HER SCIENCE.
>> GOOD MORNING.
I'M DELIGHTED TO BE HERE TO TALK
ABOUT ONE OF THE OTHER
FOUNDATIONS OF MUSIC, WHICH IS
PITCH PERCEPTION.
SO PITCH CONVEYS CRITICAL
INFORMATION IN MUSIC, IT GIVES
US A SENSE OF MELODY AND OF
HARMONY, IT CONVEYS INFORMATION
IN SPEECH, AND IS ALSO INTEGRAL
TO RECOGNITION OF ENVIRONMENTAL
SOUNDS.
SO SOUNDS SAID TO HAVE PITCH ARE
GENERATED BY REPETITIVE OR
PERIODIC PROCESSES IN THE WORLD.
FOR EXAMPLE, THE VIBRATIONS OF
THE VOCAL FOLDS OR STRINGS ON
MUSICAL INSTRUMENTS OR THE
MEMBRANES OF SPEAKERS.
SO THE RATE OF REPETITION OF
PERIODIC SOUND IS REFERRED TO AS
THE FUNDAMENTAL FREQUENCY, OR
F0.
SO FOR EXAMPLE, IF A WAVE FORM
REPEATS IN TIME 200 TIMES A
SECOND, WE SAY THAT IT HAS AN F0
OR FUNDAMENTAL FREQUENCY OF 200
HERTZ.
SOUNDS THAT ARE PERIODIC IN TIME
GENERALLY ALSO HAVE HARMONICS,
WHICH ARE INTEGER MULTIPLES OF
THIS COMMON FUNDAMENTAL
FREQUENCY OR F0.
SO FOR EXAMPLE, IF WE LOOK AT
THE SPECTROGRAM WHICH ON THE X
AXIS WE HAVE TIME AND THE WHY WE
HAVE FREQUENCY, WE CAN SEE THESE
BANDS OF ENERGY.
THOSE BANDS OF ENERGY ARE THE
HARMONICS.
AND SO PITCH IS GENERALLY
DEFINED AS THE PERCEPT
CORRESPONDING TO THIS
PERIODICITY OR THIS HARMON IICIY
OF SOUNDS.
PITCH DISCRIMINATION HAS BEEN
CLASSILY ASSUMED TO RELY ON AN
ESTIMATE OR REPRESENTATION OF
THIS FUNDAMENTAL FREQUENCY.
SO SAY YOU ESTIMATE THE F0 OF
SAY ONE TONE OUT IN THE WORLD
AND YOU HEAR ANOTHER SOUND
YOU'LL ESTIMATE THE F0, THEN
YOU'LL COMPARE THOSE TWO
ESTIMATES IN ORDER TO DETERMINE,
FOR EXAMPLE, THAT THE PITCH HAS
CHANGED.
HOWEVER, THESE SIGNALS ARE
COMPLEX AND POTENTIALLY WE USE
OTHER MECHANISMS IN ORDER TO
DETERMINE THAT A PITCH HAS
CHANGED.
FOR EXAMPLE, WE COULD JUST TRACK
THAT ALL THE HARMONICS SHIFT
TOGETHER, THAT THERE'S A SHIFT
IN THE SPECTRUM OR THE FREQUENCY
COMPONENTS.
AND SO WHEN I STARTED WORKING ON
PITCH PERCEPTION, I WAS CURIOUS
ABOUT WHETHER WE COULD HAVE
MULTIPLE MECHANISMS FOR HEARING
PITCH CHANGES IN THE WORLD.
SO TO EXAMINE THIS QUESTION, I
TOOK HARMONIC SOUNDS, STANDARD
TONES OF VOICES AND PITCH THAT
WE HEAR, AND I JITTERED THEIR
FREQUENCY COMPONENTS TO MAKE
THEM INHARMONIC, SO I ELIMINATED
THESE RATIOS, THIS RELATIONSHIP
BETWEEN THESE HARMONICS, AND I
MADE THESE FREQUENCIES,
THEREFORE, INCONSISTENT WITH ANY
SINGLE F0.
THE LOGIC OF THIS MANIPULATION
IS THAT TASKS THAT RELY ON A
REPRESENTATION OF HARMONIC
STRUCTURE OR THE F0 SHOULD BE
IMPAIRED WITH THIS MANIPULATION.
AND SO I RAN A BASIC
DISCRIMINATION TASK.
THIS IS A STANDARD
PSYCHOACOUSTIC ASSESSMENT TASK
FOR PITCH DISCRIMINATION, IT'S
BEEN USED HUNDREDS OF TIMES.
YOU ASK LISTENERS IS THE SECOND
NOTE HIGHER OTHER LOWER THAN THE
FIRST.
AND SO I'M GOING TO JUST PLAY
YOU A DEMO TRIAL OF THESE
INHARMONIC STIMULI, AND
HOPEFULLY YOU'LL BE ABLE TO HEAR
THAT THE SECOND NOTE IS, IN
FACT,S HIGHER THAN THE FIRST.
LET'S SEE IF THIS WORKS.
WELL, IT DOESN'T.
BUT IF YOU DID --
[LAUGHTER]
IF YOU HAD HEARD THAT SOUND, YOU
WOULD BE ABLE TO TELL THAT THE
SECOND NOTE WAS HIGHER AND I'LL
SHOW YOU THE DATA TO PROVE IT.
BUT I'LL JUST SAY THAT ACCORDING
TO TRADITIONAL MODELS OF PITCH,
THESE INHARMONIC TONES SHOULD
INDUCE GREATLY IMPAIRED
PERFORMANCE.
WHEN WE RAN THIS EXPERIMENT, WE
SEE THAT THE CURVES FOR THESE
TWO TYPES OF TONES, STANDARD
HARMONIC TONES AND INHARMONIC
TONES ARE OVERLAPPING.
SO BASICALLY F0, THIS HARMONIC
STRUCTURE, IS EVIDENTLY NOT
NECESSARY FOR DISCRIMINATING
PITCH.
WE RANSOM CON RAN SOME CONTROL S
TO FIGURE OUT WHAT'S ACTUALLY
HAPPENING IN THIS HARMONIC CASE.
THOSE INDICATE WHAT LISTENERS
ARE DOING IS JUST TRACKING THAT
ALL THE HARMONICS SHIFT
CONCURRENTLY WITHOUT ALSO
ESTIMATING THE F0.
SO CLASSIC DEFINITIONS OF PITCH
REALLY DO EQUATE OUR PERCEPTION
OF PITCH WITH THESE
REPRESENTATIONS OF FUNDAMENTAL
FREFREQUENCY OR F0.
BUT THIS RESULT SUGGESTS THE
MOST BASIC TASK WE CAN DO WITH
PITCH DOESN'T ACTUALLY REQUIRE
THESE REPRESENTATIONS.
SO THIS RESULT PRESENTED A
REALLY INTERESTING PUZZLE, SO
WHY IS HARMONIC STRUCTURE
NECESSARY FOR PITCH PERCEPTION?
IS IT NECESSARY AT ALL?
IN ORDER TO GAIN SOME INSIGHTS
INTO THIS, I TOOK THIS BASIC
TASK AND I ADDED A MEMORY LOAD.
SO I JUST ADDED A 32ND GAP
BETWEEN THE TWO NOTES.
THIS IS INCREDIBLY IMPORTANT IN
MUSIC WHERE OFTEN WE NEED TO
REMEMBER ONE PITCH OVER THE
COURSE OF, SAY, A MELODY.
SO THE QUESTION WAS DOES
INTRODUCING THIS DELAY MAKE
PERFORMANCE WORSE IN THIS
INHARMONIC CASE CARED TO THE
HARMONIC CASE.
HERE ARE OUR RESULTS.
IN THIS CASE I'M PLOTTING PITCH
DISCRIMINATION THRESHOLDS ON THE
Y AXIS, SO HERE LOWER IS BETTER
FOR EITHER NO DELAY OR A
THREE-SECOND DELAY.
IN THE NO-DELAY CONDITION, AGAIN
WE SEE THAT THERE'S COMPARABLE
PERFORMANCE FOR THIS HARMONIC
AND INHARMONIC TONES, HOWEVER,
WITH THE DELAY, WE FIND MUCH
WORSE PERFORMANCE IN THE
INHARMONIC CASE COMPARED TO THE
HARMONIC CASE.
THIS RESULT SUGGESTS THERE'S
ACTUALLY MEMORY REPRESENTATIONS
THAT ARE SOMEHOW SPECIFIC FOR
HARMONIC SOUNDS.
IN THIS EXPERIMENT, I CONTRASTED
THESE INHARMONIC TONES WHERE
LISTENERS SEEM TO USE A
REPRESENTATION OF THE SPECTRUM
WITH HARMONIC TONES WHERE
LISTENERS COULD USE A
REPRESENTATION OF THE SPECTRUM
OR THEY COULD ALSO ALTERNATIVELY
USE A REPRESENTATION OF THE
HARMONIC STUCK T STRUCTURE OR T.
I ACTUALLY ADDED A THIRD
CONDITION, IN THIS KAI THERE'S
NO COMMON HARMONICS BETWEEN THE
TWO TONES SO THE HYPOTHESIS IS
PEOPLE ACTUALLY MUST USE
REPRESENTATION OF THE HARMONIC
STLUK TOUR, THE F0 IN ORDER TO
MAKE PITCH COMPARISONS.
I'LL TRY TO PLAY THIS TOO, YOU
WON'T, OR YOU WOULD HAVE, AGAIN,
BUT WE FOUND SOMETHING
INTERESTING WHEN WE RAN THIS
THIRD CONDITION.
THERE'S TWO KEY EFFECTS HERE.
SO FIRST, LISTENERS ARE MUCH
WORSE WITH THESE TYPES OF TONES
WHEN THERE'S NO DELAY.
WHICH WE DID NOT AT FIRST
EXPECT.
HOWEVER, WE ALSO FOUND THAT
THERE'S NO SIGNIFICANT EFFECT OF
DELAY ON THESE TONES.
WHAT THIS PATTERN OF RESULTS
SUGGESTS HERE IS THAT LISTENERS
ARE ACTUALLY TRANSITIONING
BETWEEN ONE PITCH SYSTEM AND THE
SECOND ONE THAT RELIES ON
REPRESENTATION OF THE F0 AS SOON
AS THERE'S A MEMORY DEMAND.
HOWEVER, THIS IS CIRCUMSTANTIAL
EVIDENCE FOR THAT HYPOTHESIS.
SO IN ORDER TO PROVIDE MORE
CONCRETE EVIDENCE THAT WHAT
LISTENERS ARE, IN FACT, DOING IS
SWITCHING BETWEEN MULTIPLE
MECHANISMS OF PERCEIVING PITCH
IS WE LERCHG LEVERAGED THIS MEY
EFFECT AND USED AN INDIVIDUAL
DIFFERENCES APPROACH.
SO WE MEASURED PITCH
DISCRIMINATION THRESHOLDS IN
HUNDREDS OF PARTICIPANTS, WITH
AND WITHOUT THESE DELAY, WITH
THESE THREE DIFFERENT CONDITION,
AND OUR LOGIC HERE WAS THAT PER
PERFORMANCE ON TASKS THAT RELY
ON THE SAME UNDERLYING
REPRESENTATIONS SHOULD CORRELATE
ACROSS A POPULATION.
SO OUR DESIGN HERE AGAIN IS WE'D
HAVE PEOPLE DO THESE PITCH
DISCRIMINATION THRESHOLDS WITH
THESE THREE DIFFERENT TYPES OF
STIMULI, BOTH WITH AND WITHOUT
THIS MEMORY LOAD, AND I'LL BE
SHOWING YOU THE RESULT OF THIS
EXPERIMENT ON THIS AXIS WHERE
THE Y AXIS IS THE CORRELATION
ACROSS PARTICIPANTS FOR EITHER
NO DELAY OR A THREE-SECOND
DELAY.
SO I'LL JUST WALK YOU THROUGH
WHAT WE MIGHT EXPECT HERE.
SO LET'S JUST ZOOM IN ON THE TWO
HARMONIC CONDITIONS.
IN THE INTERLEAVED HARMONIC
CONDITION WE EXPECT LISTENERS
ARE GOING TO USE A
REPRESENTATION OF THE F0 TO DO
THE TASK.
THEY COULD ALSO USE A
REPRESENTATION OF THE F0 TO DO
THE TASK IN THE HARMONIC CASE.
AND IF EVERY PARTICIPANT IN OUR
EXPERIMENT IS USING THOSE TWO
REPRESENTATIONS FOR THOSE TWO
TASKS, THE PERFORMANCE ON THOSE
TWO TASKS SHOULD ACTUALLY
CORRELATE ACROSS OUR
PARTICIPANTS BECAUSE, AGAIN,
PERFORMANCE ON TASKS THAT RELY
ON THE SAME UNDERLYING MECHANISM
SHOULD CORRELATE.
SO WE MO MIGHT EXPECT SOMETHING
LIKE THIS.
INSTEAD, HOWEVER, WE FOUND AN
INTERACTION.
WE FOUND THAT WITHOUT A DELAY,
OUR HARMONIC AND I HARMONIC
CONDITIONS WERE STRONGLY
CORRELATED AND THIS DECREASED
WITH THE DELAY, AND THEN WE
FOUND THE OPPOSITE PATTERN FOR
OUR TWO HARMONIC CONDITIONS.
SO WHAT THIS SUGGESTS IS THAT
LISTENERS DO ACTUALLY TRANSITION
BETWEEN TWO DIFFERENT MODES OF
LISTENING, TWO DIFFERENT
REPRESENTATIONS OF PITCH,
DEPENDING ON THE MEMORY DEMAND.
AND AS FAR AS WE CAN TELL, THIS
HAPPENS BELOW THE LEVEL OF
CONSCIOUS AWARENESS.
WE'VE ALSO REPLICATED THIS
EXPERIMENT SEVERAL TIMES.
SO WE WERE CURIOUS, CAN WE
ACTUALLY FIND EVIDENCE OF IN IN
A NEURAL SYSTEM.
I'VE BEEN INVESTIGATING NEURAL
RESPONSES TO INHARMONIC TONES
USING FMRI.
IN THIS EXPERIMENT, LISTENERS
HEARD MELODIES MADE UP OF
DIFFERENT TYPES OF TONES, SO
AGAIN THESE HARMONIC TONES,
STANDARD TONES WE HEAR IN MUSIC,
INHARMONIC TONES AND SPECTRALLY
MATCHED NOISE.
AND WITH HALF OF OUR DATA, WE
DESIGNED A CONTRAST WHERE WE
TOOK -- WHERE WE WERE LACKING
FOR PITCH-SENSITIVE REGIONS OF
CORTEX SO WE CONTRASTED THOSE
HARMONIC TONES WITH SPECTRALLY
MATCHED NOISE, THEN LOOKING IN
THOSE VOXELS, WITH HE TRIED TO O
SEE IN INDEPENDENT DATA HOW THEY
RESPONDED TO ALL OUR DIFFERENT
CONDITIONS.
WHEN WE DID THIS, WHAT WE FOUND
INTERESTINGLY WAS THAT
PITCH-SENSITIVE AREAS OF CORTEX
RESPOND LEAK TO THESE HARMONIC
AND INHARMONIC STIMULI.
SO THESE INHARMONIC STIMULI
WHICH DON'T ACTUALLY HAVE A
CLASSIC NOTION OF PITCH AT ALL
DO DRIVE PITCH-SENSITIVE AREAS
OF CORTEX.
THE TWO BARS ARE THE SAME HERE.
SO WHAT I'VE SHOWN YOU TODAY IS
EVIDENCE FOR TWO DIFFERENT PITCH
REPRESENTATIONS.
MEMORY FOR RICH SEEMS TO REQUIRE
REPRESENTATIONS OF F0.
HOWEVER, REALTIME PITCH
PERCEPTION ACTUALLY REQUIRES
REPRESENTATIONINGS OF THE
SPECTRUM.
AND PITCH REGIONS OF AUDITORY
CORTEX RESPOND SIMILARLY TO BOTH
HARMONIC AND INHARMONIC STIMULI.
SO I'VE ACTUALLY USED THIS
CONTRAST BETWEEN HARMONIC AND IP
HARMONIC STIMULI TO INVESTIGATE
HOW HARMONIC STRUCTURE IS
IMPORTANT FOR MANY DIFFERENT
ASPECTS OF HEARING, BOTH IN
MUSIC AND IN SPEECH.
AND WE FOUND THAT HARMONIC
STRUCTURE OR F0 SEEMS TO BE
CRITICAL FOR REMEMBERING PITCH,
WHICH IECH SHOWN YOU TODAY,
MUSICAL INTERVAL DISCRIMINATION
AND OUT OF KEYNOTE DETECTION,
HEARING AND DISCRIMINATING TONES
AND MED D MELODIES AND NOISE, AD
VOICE RECOGNITION.
BUT INTERESTINGLY WE DO NOT NEED
HARMONIC STRUCTURE FOR BASIC
SPICH DISCRIMINATION, FOR
PROVIDING INVARIANCE TO TIMBRAL
DIFFERENCES, SO HOPEFULLY I'VE
CONVINCED YOU THAT PITCH
REPRESENTATIONS ARE FAR MORE
DIVERSE AND INTERESTING THAN
PREVIOUSLY THOUGHT.
THANK YOU ALL FOR YOUR TIME, AND
THANK YOU FOR LISTENING.
[APPLAUSE]
>> HI, EVERYBODY.
I'M REALLY EXCITED TO BE HERE.
I'M AMY S BELFI.
I'M GOING TO GIVE YOU A REALLY
QUICK OVERVIEW, I WAS LIKE
THAT'S A LOT, I'M GOING TO JUST
DO ABOUT FIVE MINUTES ON THE
MEMORY STUFF, FIVE MINUTES ON
THETHE ESTHETICS STUFF.
SO WHEN I TALK ABOUT MEMORY, I'M
GOING TO SPECIFICALLY BE
DISCUSSING AUTOBIOGRAPHICAL
MEMORIES, MEMORIES OF EVENTS OF
THINGS THAT HAPPEN TO YOU IN
YOUR LIFE.
SO TO GIVE AN EXAMPLE, THE OTHER
DAY I WAS AT THE GROCERY STORE
AND I HEARD THIS SONG, CHRISTINA
AGUILERA'S FIGHTER, AND IT TOOK
ME RIGHT BACK TO HIGH SCHOOL I
REMEMBER BEING AT A HIGH SCHOOL
DANCE, DANCING AROUND THE GYM,
BEING ALL SWEATY WITH MY
FRIENDS, AND I HADN'T THOUGHT
ABOUT THAT MEMORY IN A LONG
TIME, BUT HEARING THAT SONG JUST
REALLY TRANSPORTED ME BACK TO
THAT MOMENT AND THEN ALSO
REMINDED ME OF THIS MEEM I SAW
ON THE INTERNET RECENTLY THAT
SAID YOU KNOW YOU'RE GETTING OLD
THAT THE SONGS YOU USED TO DANCE
TO AT 2:00 A.M. AT THE CLUB ARE
NOW PLAYED IN THE GROCERY STORE.
I WAS LIKE, THAT IS SO TRUE.
SO ANYWAY, THIS IS PROBABLY AN
EXPERIENCE YOU MIGHT NOT HAVE
HAD AT THE GROCERY STORE BUT
MOST OF US HAVE HAD, WHERE WE
SAW A SONG THAT REALLY TOOK US
BACK TO A MOMENT FROM OUR LIFE.
SO WHAT I HAVE BEEN TRYING TO
GET AT IN MY WORK IS WHY, FIRST
OF ALL, IS MUSIC BET ARE AT
DOING THIS THAN OTHER TYPES OF
SENSORY CUES AND IF SO, WHAT IS
IT ABOUT THE MUSIC THAT MAKES IT
SUCH A POTENT TRIGGER FOR
MEMORIES.
IF WE UNDERSTAND THE HOW AND WHY
OF HOW IS MUSIC ABLE TO DO THIS,
THEN WE CAN BETTER USE MUSIC TO
DO THIS WHEN WE'RE DESIGNING
INTERVENTIONS FOR, SAY, PEOPLE
WITH AGE-RELATED MEMO REA
DECLINE.
I'M GOING TO WALK YOU THROUGH
THE FIRST STUDY I DID ON THIS
TOPIC WHICH WAS ABOUT 10 YEARS,
REALLY TRYING TO BE IS MUSIC
BETTER THAN ANYTHING ELSE.
SO IN THIS STUDY, PARTICIPANTS
CAME INTO THE LAB AND THEY
LISTENED TO A BUNCH OF DIFFERENT
MUSICAL SELECTIONS AND THE GOAL
WAS TO TRIGGER AS MANY MEMORIES
AS POSSIBLE.
SO WE ADAPTED THIS METHOD FROM
WHAT HAD BEEN DONE A FEW YEARS
PRIOR WHERE WE PLAYED POPULAR
TRACKS FROM THE BILLBOARD CHARTS
AND WE PICKED THEM FOR EACH
PARTICIPANT BASED ON THEIR AGE.
SO PARTICIPANTS HEARD SONGS THAT
WERE POPULAR WHEN THEY WERE
BETWEEN THE AGES OF 15 AND 30
YEARS OLD.
I HAVE SOME EXAMPLE, I HAVE A
HUNCH THEY'RE PROBABLY NOT GOING
TO WORK BUT LET'S JUST SEE.
OH, YES!
OKAY.
♪ SO IF YOU ARE AROUND MY AGE
YOU MIGHT HEAR SOMETHING LIKE
THAT, LADY GAGA, IF YOU'RE A
LITTLE OLDER THAN ME YOU MIGHT
HEAR THIS.
♪ AND IF YOU'RE A LITTLE OLDER
THEN YOU MIGHT HEAR THIS.
♪ BOOM, BOOM INTO MY HEART ♪
>> I HATE TO CUT OFF THOSE GREAT
TRACKS, BUT SO AFTER EACH TRACK,
WE JUST ASK PARTICIPANTS, DID
THAT EVOKE A MEMORY FOR YOU?
IF SO, PLEASE DESCRIBE THE
MEMORY.
THEY HEARD 30 SONGS.
ON AVERAGE, ABOUT 10 OF THE 30
TRIGGERED MEMORIES.
AND THAT'S BEEN REPLICATED IN
SUBSEQUENT RESEARCH.
SO THEN WE WI HAD TO DECIDE WHAE
WE GOING TO COMPARE MUSIC TO?
IN THIS FIRST STUDY WE CHOSE
PICTURES OF CELEBRITIES FOR A
FEW REASONS.
ONE, THEY'RE JUST LAKE POPULAR
MUSIC, UBIQUITOUSLY EXPERIENCE A
PART OF POPULAR CULTURE, HIGHLY
FAMILIAR, AND ALSO WE COULD TIME
MATCH THEM TO THE PARTICIPANTS
TOO.
SO IF YOU HEARD THE LADY GAGA
SONG YOU MIGHT SEE A PICTURE OF
GEORGE W. BUSH, BOTH FROM THE
2000s.
SO WE SHOWED THEM 30 PICTURES OF
CELEBRITIES AND ASKED THEM DID
THIS CAUSE A MEMORY FOR YOU, IF
SO, PLEASE DESCRIBE THE MEMORY.
WE AUDIO-RECORDED THE WHOLE
SESSION, TRANSCRIBED THEM, AND
THEN WITH USED THAT AUTO BAY
GRAPHICAL INTERVIEW CODING
TECHNIQUE TO QUANTIFY THE
EPISODIC DETAIL OF THE MEMORY.
SO THE QUESTION IS, ARE THE
MEMORIES TRIGGERED BY MUSIC
BETTER OR MORE EPISODICALLY
DETAILED, RICHER, MORE VIVID
MEMORIES THAN THE MEMORIES
EVOKED BY THE PICTURES OF THE
FACES.
SO WHAT I PLOTTED HERE IS THE
DATA FROM THAT FIRST STUDY ON
THE Y AXIS, IS THAT THAT
QUANTIFICATION OF THE MEMORY
CONTENT, THE EPISODIC RICHNESS
IN THE DARK GREY BAR IS THE
MUSIC EVOKED MEMORY SO YOU CAN
SEE THEY WERE MORE EPISODICALLY
DETAILED, RICHER, MORE VIVID
MEMORIES THAN THOSE EVOKED BY
THE PICTURES OF THE FACES.
MORE RECENTLY, WE'VE REPLICATE
THIS STUDY AND WE USE MORE
ADVANCED STATISTICAL TECHNIQUES
AND WE CAN ACTUALLY PREDICT WITH
ABOVE CHANCE ACCURACY WHETHER A
MEMORY WAS TRIGGERED BY A SONG
OR BY A FACE JUST FROM THE
MEMORY CONTENT ITSELF.
SO THESE MEMORIES EVOKED BY
MUSIC SEEM TO BE QUITE DIFFERENT
THAN MEMORIES EVOKED BY THESE
PICTURES OF FACES.
SO THAT WAS REALLY THE INITIAL
STUDY COMPARING MUSIC TO
SOMETHING ELSE, AND SINCE THEN
WORK BY MYSELF AND OTHERS HAS
COMPARED MUSIC TO A WHOLE HOST
OF DIFFERENT TYPES OF MEMORY
CUES.
SO PEOPLE HAVE USED WORD CUES,
WHICH WOULD BE SOMETHING LIKE
TELL ME A MEMORY FROM YOUR
CHILDHOOD, AND MUSIC EVOKED
MEMORIES TEND TO HAVE MORE
PERCEPTUAL DETAILS.
THEY'VE COMPARED THEM TO PICTURE
OF WORLD EVENTS, TO TELEVISION
SHOWS, TO FOOD CUES, AND
WHETHER -- DEPENDING ON THE
SPECIFIC CUE, MUSIC TENDS TO
COME OUT ON TOP, WHETHER IT'S IN
TERMS OF THE MUSIC EVOKED
MEMORIES ARE MORE EMOTIONAL,
THEY'RE MORE VIVID, THEY MAKE
YOU FEEL LIKE YOU'RE
REEXPERIENCING THAT EVENT.
AND SOME OF THESE STUDIES WERE
DONE IN THE LAB, AND THE BULLET
POINT AT THE BOTTOM, WE ACTUALLY
DID IN EVERYDAY LIFE, SO WE HAVE
PEOPLE GO ABOUT THEIR DAILY LIFE
WITH EITHER A PAPER DIARY OR AN
APP, AND THEY INDICATE WHENEVER
THEY EXPERIENCE A MUSIC-OWE
VO-EVOKEDMEMORY.
SO IN LABORATORY OR EVERYDAY
SETTINGS, THE MUSIC-EVOKED
MEMORIES TEND TO BE DIFFERENT
THAN MEMORIES EVOKED BY THESE
OTHER CUE, AND THEY'RE USUALLY
DIFFERENT IN MORE ADVANTAGEOUS
WAYS.
SO MORE RECENTLY, I'VE BEEN KIND
OF THINKING ABOUT THIS SO WHAT,
SO OKAY, WE PLAY MUSIC FOR
PEOPLE AND IT CAUSES THEM TO
EXPERIENCE MEMORIES.
HOW DOES THAT INFLUENCE THEIR
EMOTIONS OR THEIR MOOD, OR DOES
IT INFLUENCE THEIR DAY IN
POSITIVE WAYS?
SO MOST RECENTLY, WEE WAVE BEEN
DOING A STUDY TO TRY AND GET AT
WHAT'S THE DIFFERENCE BETWEEN
LISTENING TO A SONG THAT
TRIGGERS A MEMORY VERSUS A SONG
THAT DOES NOT DRUGGER A MEMORY?
SO WE HAD PARTICIPANTS COME INTO
THE LAB, THEY RATED THEIR
EMOTIONS AT BASELINE, AND THEN
THEY LISTENED TO FIVE MINUTES OF
MUSIC THAT WAS EITHER
MEMORY-EVOKING OR JUST KIND OF
MORE GENERIC NEUTRAL MUSIC.
AND THEN THEY RATED THEIR
EMOTIONS RIGHT AFTER, 10 MINUTES
AFTER AND 20 MINUTES A WE HAD
THEM RATE A BUNCH OF EMOTIONS.
WHAT I PLOTTED HERE IS HAPPINESS
IS ON THE LEFT AND SADNESS IS ON
THE RIGHT.
WE DID THIS IN YOUNGER AND OLDER
ADULTS AS WELL.
SO THE YOUNGER ADULTS ARE
PLOTTED IN TRIANGLES AND THE
OLDER ADULTS ARE PLOTTED IN
CIRCLES.
ON THE LEFT, FOR HAPPINESS, WE
SEE THE OLDER ADULTS ACROSS THE
BOARD REPORTED MORE HAPPINESS
WHICH IS CONSISTENT WITH THIS
AGE-RELATED POSITIVITY EFFECT
BUT WHAT I REALLY WANT TO
HIGHLIGHT IS THIS EFFECTIVE
SADNESS.
SO YOU SEE THAT GREEN BUMP IN
SADNESS FROM BASELINE TO TIME .1
AND THAT IS FOR MEMORY-EVOKING
MUSIC ONLY.
SO WE SEE LISTENING TO THIS KIND
OF NEUTRAL GENERIC MUSIC IS NOT
INKREASING YOUR SADNESS, BUT
SOMETIMESLY ENING TO
MEMORY-EVOKING MUSIC IS.
THAT DOESN'T MEAN IT'S BAD OR
THAT SADNESS IS BAD, BUT IT'S
USEFUL TO KNOW THAT SOMETIMES
LISTENING TO THIS TYPE OF MUSIC
THAT'S PERSONALLY SIGNIFICANT
THAT'S ASSOCIATED WITH YOUR PAST
CAN BRING UP MORE MIXED QUALITY
EMOTIONS.
SO NOW TO JUMP INTO THE
ESTHETICS PART A LITTLE BIT.
MY FIRST QUESTION I TRIED TO GET
AT WHEN LOOKING AT MU SIX'S THIS
TICS IS HOW QUICKLY CAN WE TELL
WE'RE GOING TO LIKE A PIECE OF
MUSIC?
I'M STUDYING IN TERMS OF LIKING
AND ENJOYMENT OF MUSIC.
I'M THINKING WHEN YOU'RE IN THE
CAR, HOW DO YOU KNOW WHEN TO
FLIP TO THE NEXT RADIO STATION?
YOU'RE LIKE THAT'S NOT FOR ME,
NEXT, NEXT, NEXT.
SO ALSO RELATED TO WHEN WE'RE
DOING STUDIES IN MUSIC
COGNITION, WE WANT TO KNOW HOW
MUCH MUSIC DO WE HAVE TO PLAY TO
THE PERSON FOR TO HAVE AN
EFFECT?
SO I WANTED TO SEE WHAT'S THE
MINIMAL AMOUNT OF TIME TO KNOW
IF YOU'RE ULTIMATELY GOING TO
LIKE A PIECE.
SO I PLOTTED THE DATA RIGHT HERE
BUT JUST TO DESCRIBE THIS STUDY,
ON THE X AXIS ARE MILLISECONDS
SO WE PLAYED REALLY SHORT
SNIPPETS OF MUSIC STARTING AT
250 MILLISECONDS ALL THE WAY UP
TO TWO SECONDS.
AFTER EACH SNIPPET, WE ASKED THE
PARTICIPANTS RATE ON A 1 TO
10-POINT SCALE HOW MUCH DID YOU
LIKE THIS.
THEN WE HAD THEM LISTEN TO THE
FULL PIECE OF MUSIC, AND WE
WANTED TO SEE WHEN IN THESE
SHORT DURATIONS DID THEIR RATING
MATCH THE RATING OF THE FULL
PIECE.
SO IF THEY SAID THIS WHOLE PIECE
IS 8 OUT OF 10, AT WHAT POINT ON
THESE SHORTER DURATIONS DID THEY
GET TO AN 8?
SO PLOTTED ON THE Y AXIS IS THE
PERCENTAGE CORRECT, WHERE
CORRECT MEANS THEIR RATING
MATCHED THE RATING OF THE FINAL
PIECE.
WE USED THREE DIFFERENT GENRES,
AND FOR ALL BY 750 MILLISECONDS,
PEOPLE WERE AT ABOVE CHANCE
ACCURACY, THEY WERE ABLE TO TELL
YOU WITHIN 750 MILLISECONDS HOW
MUCH THEY WOULD ULTIMATELY LIKE
THE PIECE.
SO I'M GOING TO PLAY YOU A
SNIPPET THAT'S SHORT.
THAT'S VERY, VERY SHORT.
LESS THAN A SECOND.
SO PEOPLE ARE REALLY ACCURATE.
YOU KIND OF HAVE THIS GUT
DECISION OF IF YOU'RE GOING TO
LIKE A PIECE OR NOT, AND IT
TENDS TO BE VERY ACCURATE OVER
TIME.
THE CONTEXT IN WHICH YOU'RE
LISTENING TO MUSIC MATTERS.
SO WE DID THIS STUDY RECENTLY,
IT WAS VERY FUN, IT WAS IN A
LIVE CONCERT, WE HAD
PARTICIPANTS COME TO THE CONCERT
AND THEY RATED THEIR EMOTIONS
CONTINUOUSLY OVER THE COURSE OF
THE CONCERT.
WE USED A APP WHERE THEY WOULD
SPREAD THEIR FINGERS MORE TO
MEAN I'M LINI LIKING THIS MORE D
PINCHING THEM TO SAY I'M LIKING
THIS LESS.
WE WANTED TO SEE HOW THOSE
RATINGS COMPARED TO THE RATINGS
OF PEOPLE WHO CAME INTO THE LAB
AND WATCHED A RECORDING OF THE
CONCERT.
SO WE'RE COMPARING LIVE VERSUS
RECORDED.
AND SO WHAT I PLOTTED HERE ON
THIS GRAPH ON THE Y AXIS IS THE
ACTUAL VARIATION THE STANDARD
DEVIATION OF THOSE RATINGS.
THESE ARE VIOLIN PLOTS.
SO THE DOT INDICATES THE MEAN.
SO THE LAB GROUP IS ON THE LEFT,
AND THE LIVE GROUP IS ON THE
RIGHT.
WE CAN SEE WITH KIND OF THE
SPREAD OF THAT PLOT THAT THE
STANDARD DEVIATION OF THE
RATINGS IN THE LIVE SETTING WAS
GREATER THAN THE RATINGS OF IN
THE LAB SETTING.
SO PEOPLE IN THE LIVE SETTING
TENDED TO HAVE HIGHER HIGHS AND
LOWER LOWS, A GREATER SPREAD IN
THE RATINGS THAN THE PEOPLE WHO
WERE WATCHING IT IN THE LAB.
SO IT SEEMS TO BE THAT
EXPERIENCING MUSIC IN THIS LIVE
SETTING CAUSES A GREATER
FLUCTUATION IN THIS AESTHETIC
JUDGMENT OR EMOTIONAL JUDGMENT
OF THE MUSIC.
SO TO KIND OF SUMMARIZE THIS
WHIERL WIND OF MUSIC EMOTION AND
ESTHETICS, OUR WORK AND THE WORK
OF OTHERS HAVE FOUND THAT MUSIC
EVOKED AUTOBIOGRAPHICAL MEMORIES
TEND TO BE HIGHLY EPISODICALLY
DETAILED, HIGHLY EMOTIONAL,
HIGHLY VIVID, AND THAT THEY CAN
EVOKE THESE MIXED QUALITY
EMOTIONS, THAT OUR AESTHETIC
JUDGMENTS OF MUSIC CAN BE MADE
VERY QUICKLY AND ARE HIGHLY
ACCURATE, EVEN WHEN WE ONLY HEAR
A SNIPPET OF MUSIC, AND THE
CONTEXT OF WHICH WE'RE LISTENING
TO MUSIC CAN HAVE A REALLY BIG
INFLUENCE ON OUR JUDGMENTS OF
MUSIC.
SO WITH THAT I'D LIKE TO SAY
THANK YOU TO MY AWESOME STUDENTS
IN MY LAB, THANK YOU TO EVERYONE
FOR BEING HERE, FOR HAVING ME,
AND I'M REALLY LOOKING FORWARD
TO CHATTING MORE AND HEARING
ABOUT ALL THE AWESOME WORK
THAT'S GOING ON OVER THE NEXT
COUPLE DAYS.
[APPLAUSE]
>> HI, EVERYONE.
MY NAME IS EDDIE CHANG, I'M A
NEUROSURGEON AT UCSF.
MY LAB PRIMARILY FOCUSES ON THE
REPRESENTATION OF SPEECH.
WE RECENTLY GOT INTO MUSIC.
A LOT OF OUR WORK IS FUNDED BY
NIDCD, SO FIRST AND FOREMOST I
WANT TO THANK OUR FUNDING AGENCY
AT THE NIH FOR THAT.
THIS WORK THAT I'M GOING TO TALK
ABOUT IS REALLY SPEARHEADED BY A
VERY TALENTED POSTDOCTORAL
FELLOW WHO'S BEEN IN OUR LAB.
I SAID WE STUDY SPEECH, SO I HAD
HIM WORK ON WORDS FOR ABOUT A
YEAR AND A HALF.
BUT THEN I REALIZED IT WASN'T IN
HIS HEART AND WE STARTED TO
PIVOT AND QUEST WE STARTED BASIY
WORKING ON MUSIC.
A PARTICULAR TOPIC HERE IS
MELODY.
BASICALLY THE SUCCESSION OF
DIFFERENT PITCHES DEFINED BY
RHYTHMS.
SO THE SPECIFIC FUNCTIONS WE'RE
ASKING ABOUT, AND THINK ABOUT
THIS, HOW THIS MIGHT LOOK AS AN
EXPERIMENT.
IF YOU HAD ACCESS DIRECTLY TO
THE BRAIN ITSELF, SPECIFICALLY
THE TEMPORAL LOBE, WHERE WE DO A
LOT OF OUR SURGERIES AND YOU HAD
ELECTRODES PLANTED THERE, WHAT
WOULD THAT NEURAL CODE, THAT LEK
TALL ELECTRICAL CODE OF ACTIVITT
REPRESENTS SOUND, WHAT WOULD
THAT LOOK LIKE, WHAT WOULD THAT
TELL US ABOUT THE SOUND, HOW
DOES IT WORK?
THAT'S WHAT I'M GOING TO DISCUSS
FOR THE NEXT 8 MINUTES, IS
REALLY ABOUT THE NATURE OF THAT
CODE, WHERE IT IS AND WHAT IT'S
REPRESENTING.
♪
>> THAT'S AN EXAMPLE OF A
PARTICULAR MELODY.
SOME OF IT IS EXPECTED, SOME OF
IT IS A LITTLE BIT DIFFERENT
THAN WHAT WE WOULD EXPECT IN THE
NOTES, AND SHELLY GAVE AN
AMAZING EXAMPLE, PERFECT SETUP
FOR THIS, THAT OUR EXPECTATIONS
ARE VERY CRITICAL FOR HOW WE
CONTEXTUALIZE MELODY.
FIRST, BEAUTIFULLY DESCRIBED BY
MALINDA JUST A COUPLE MINUTES
AGO ABOUT THIS CONCEPT OF THE
INDIVIDUAL PITCH OF THE NOTES.
THAT'S THE STARTING POINT.
WE THINK ABOUT THESE INDIVIDUAL
ELEMENTS, AND THEN SECONDLY IS
THE CHANGE FROM ONE NOTE TO THE
NEXT.
THAT ONE INTERVAL FROM ONE NOTE
TO THE NEXT THAT -- WHAT WE CALL
PITCH CHANGE, WHICH IS MEASURED
BY SEMI TONES.
THERE'S A THIRD ASPECT TO THE
MELODY WHICH MAY BE THE MOST
IMPORTANT ACTUALLY, WHICH IS OUR
INTERNAL MODEL, THE STATISTICAL
MODEL, THE EXPECTATION THAT WE
HAVE OF ONE NOTE FOLLOWING THE
NEXT.
AND IN ORDER TO ESTIMATE THAT,
WE USED A COMPUTER ALGORITHM,
BASICALLY AN A.I., ARTIFICIAL
INTELLIGENCE ALGORITHM, TO LACK
OVER MILLIONS AND MILLIONS OF
EXAMPLES OF MUSIC TO BUILD A
STATISTICAL EXPECTATION MODEL OF
ONE PROBABILITY OF A NOTE
FOLLOWING THE NEXT.
THESE ARE VERY SPECIFIC TO
DIFFERENT TYPES AND GENERAL RES
OF MUSIC, ET CETERA, SO IT CAN
BE VERY SPECIFIC.
IN THIS PARTICULAR CASE, NARAYAN
USED ONE CALLED MELODY RNN TO
GENERATE THE TIME BY TIME
STATISTICAL PROBABILITY OF ONE
SOUND OCCURRING.
WE WERE VERY INTERESTED TO
UNDERSTAND HOW IS OUR BRAIN
PROCESSING I THAT STATISTICAL
PROPERTY, THAT EXPECTATION VALUE
OF ONE SOUND FOLLOWED BY THE
NEXT.
SO AS ANNE ALLUDED TO EARLIER,
IF YOU LOOKED AT THE LEFT
TEMPORAL LOBE AND RIGHT TEMPORAL
LOBE, THE PART OF THE BRAIN
THAT'S RIGHT ABOVE OUR EARS, YOU
CAN SEE THAT WE SEE VERY CLEAR
AND STRONG RESPONSES IN BOTH
SIDES OF THE LEFT AND THE RIGHT,
AND THESE WERE PARTICIPANT WHO
WERE SURGICAL PATIENTS WHO WERE
UNDERGOING EPILEPSY SURGERY
WHERE WE HAD IMPLANTED
ELECTRODES ON THE BRAIN IN ORDER
TO LOCALIZE THE SEIZURE.
SO THIS IS EXACTLY WHAT WE DID.
WE HAD ELECTRODES RIGHT THERE,
EAVESDROPPING ON THAT ELECTRICAL
ACTIVITY AS PEOPLE WERE
LISTENING TO MUSIC.
YOU CAN SEE IT HAPPENS BUY ALL
RBILATEBILATERALLY.
ANOTHER THING YOU CAN SEE HERE
IS IT'S DISTRIBUTED.
WHAT'S QUITE INTERESTING TO ME
IS THE POPULATIONS THAT WE SAW
THAT WERE PROCESSING MUSIC WERE
VERY MUCH OVERLAPPING WITH THE
AREAS THAT ARE PROCESSING THE
WORDS ACTUALLY.
SPEECH.
AND I'M GOING TO GET INTO THAT A
LITTLE BIT, BECAUSE IT'S NOT
EXACTLY THE SAME.
THEY'RE IN THE SAME GENERAL AREA
BUT THERE ARE SPECIALIZATIONS
FOR MUSIC THAT OCCUR.
WHAT YOU'RE LOOKING AT HERE SO
HOW THOSE THREE PARAMETERS,
THREE VARIABLES, PITCH, PITCH
CHANGE AND EXPECTATION, VERY
INDEPENDVARYINDEPENDENTLY, SO EF
PLOTS CORRESPONDS TO AN
ELECTRODE TUNED TO PITCH, THE
PARAMETER OF PITCH, EACH SET OF
ROWS CORRESPONDS TO A DIFFERENT
ELECTRODE.
SO THAT FIRST ROW IS AN EXAMPLE
OF AN ELECTRODE THAT'S VERY
TUNED TO THE ABSOLUTE PITCH OF A
GIVEN NOTE, THE SECOND ROW SHOWS
AN ELECTRODE THAT IS TUNED TO
PITCH CHANGE, AND THE THIRD ROW
IS ACTUALLY AN ELECTRODE THAT
DOESN'T HAVE MUCH SELECTIVE
TUNING TO PITCH OR PITCH CHANGE
BUT PITCH EXPECTATION.
SO THE POINT OF THIS FIGURE IS
THAT YOU COULD HAVE THREE
SENSORS ON YOUR TEMPORAL LOBE
RIGHT NEXT TO EACH OTHER, JUST
MILLIMETERS APART.
ONE IS PROCESSING THE ABSOLUTE
PITCH, THE SECOND IS PROCESSING
THE SECOND ORDER FUNCTION WHICH
IS THE CHANGE IN THE PITCH FROM
ONE NOTE TO THE NOTE, AND THEN
YOU'VE GOT ANOTHER SPOT RIGHT
NEXT TO THAT, THAT IS PROCESSING
THE EXPECTATION OF WHAT IS THE
FOLLOWING NOTE.
ALL HAPPENING IN THE SAME PART
OF THE AUDITORY CORTEX.
Y.TO LOOK AT THE INTERSECTION
BETWEEN SPEECH AND MUSIC, AND
REALLY ASK THIS QUESTION ABOUT
THIS INTERSECTION BETWEEN WHAT'S
PROCESSING THE SOUNDS OF WORDS
AND THE SOUNDS OF A MELODY.
AND WHAT WE'VE FOUND WAS THAT IF
YOU LOOKED AT THE SENSITIVITY OF
THESE ELECTRODE, SOME WERE
EXTREMELY SENSITIVE AND
SELECTIVE TO SPEECH.
THOSE ARE THE RED COLORED
ELECTRODES THAT WERE DOWN ON THE
BOTTOM.
THE SELECTIVITY METRIC ALSO
SHOWED US THAT THERE WAS A
SUBPOPULATION THERE THAT WAS
SELECTIVE TO MUSIC.
SO WORK FROM OUR COLLEAGUES IN
MCDERMOTT LAB HAVE SHOWN THAT
THERE ARE SELECTIVE RESPONSES IN
THIS HUMAN PART OF THE AUDITORY
CORTEX.
AND THEN WE TRIED TO SEE, WELL,
IS THERE A MUSIC AREA?
AND DAN DESCRIBED THIS EARLIER.
OUR THINKING ABOUT THIS HAS
CHANGED A LOT.
WE USED TO THINK THAT THERE WAS
ACTUALLY THIS ONE CHUNK THAT WAS
PURELY DEDICATED FOR THIS
FUNCTION OF MUSIC, BUT WHAT WE
FOUND WAS THAT THERE'S REALLY
SUBPARTS, LITTLE BITS OF THE
AUDITORY CORTEX THAT ARE HIGHLY,
HIGHLY SELECTIVE TO MUSIC.
THOSE ARE THE ONES THAT ARE BLUE
THERE.
AND THE ONES THAT ARE
SURROUNDING THEM ARE THE ONES
THAT ARE PROCESSING SPEECH
INFORMATION.
SO THERE'S A SUBSET, AND THEY'RE
INTERDIGITATED AND ALMOST
RANDOMLY DIGITATED WITH THESE
OTHER PARTS OF THE AUDITORY
COMPLEX, BUT IT'S NOT LIKE A
GENERAL MUSIC AREA.
THAT WE COULD SEPARATE AND
DEFINE.
A THIRD RESULT HERE IS THAT
THESE ELECTRODES THAT WE WERE --
THAT WE FOUND THAT WERE
SELECTIVE TO MUSIC ONLY, MEANING
THAT WHEN PEOPLE WERE HEARING
SPEECH, THERE WAS NO ACTIVITY,
BUT THESE TINY SPOTS WHERE THEY
WERE RE -- WERE WHERE THEY WERE
RESPONSIVE TO MUSIC.
IT TURNS OUT THAT THOSE WERE THE
ONES THAT WERE TUNED TO MUSIC
EXPECTATION, OR MELODIC
EXPECTATIONS, AND THEY WERE NOT
TUNED SPECIFICALLY TO THE PITCH
OR THE PITCH CHANGE.
SO ONE OF THE FINDINGS HERE WAS
THAT THIS PARAMETER, THIS
STATISTICAL MODEL THAT WE ALL
HAVE WITH US ABOUT MUSIC, ABOUT
THE LIKELIHOOD OF ONE NOTE
FOLLOWING THE NEXT, IS HIGHLY
SPECIFIC TO MUSIC, AND THESE
SPECIFIC SPOTS IN OUR BRAIN ARE
HIGHLY TUNED TO THAT
PROBABILITY.
SO YOU DON'T HAVE TO GO AS FAR
AS THE FRONTAL LOBE ACTUALLY TO
SEE THIS.
WE DO SEE IT IN THE TEMPORAL
LOBE QUITE CLEARLY.
NOW, NARAYAN DID THIS CONTROL
EXPERIMENT, HE SAID THAT'S COOL,
YOU SEE THESE AREAS THAT RESPOND
EXCLUSIVELY TO MUSIC AND NOT TO
SPEECH.
CAN WE SOMEHOW MAKE THEM
ACTIVATED BY MELODIZING OR
MAKING THE SPEECH ME MELODIC?
SO HE CREATED IT STARTING WITH
SPEECH.
>> THIS IS A SLEEPING CAPSULE.
>> NO TEMPTATION, NO VIRTUE.
>> MAYBE IT WOULD WORK THE OTHER
WAY.
>> AND THEN HE DID SOMETHING
CLEVER.
QUITE CLEVER.
HE TOOK THE SPEECH PITCH CONT
CONTOUR, AND THEN HE TURNED IT
INTO A MUSICAL REGISTER.
OKAY, SO HE SHIFTED THE SAME
FREQUENCY INFORMATION, BUT THEN
HE JUST MOVED IT INTO THE
MUSICAL NOTES.
AND BY DOING THAT, HE TURNED IT
INTO MUSICAL SPEECH.
♪ THIS IS A SLEEPING CAPSULE ♪
♪ NO TEMPTATION, NO VIRTUE ♪
♪ MAYBE IT WOULD WORK THE OTHER
WAY ♪
>> AND WHAT WAS QUITE INCREDIBLE
IS WHEN YOU LOOK AT THOSE
ELECTRODES AS AN EXAMPLE OF THAT
FIRING ACTIVITY FROM ONE OF
THOSE SITES THAT ARE VERY, VERY
SELECTIVE TO MUSIC, YOU CAN SEE
THE RESPONSE IN BLUE.
AND THEN THE RESPONSE IN SPEECH
IS FLAT.
THAT'S AN EXAMPLE OF AN
ELECTRODE THAT'S REALLY TUNED TO
MUSICAL SOUNDS AND SELECTIVE TO
MUSIC.
WHEN IT HEARS THE MELODIC
SPEECH, IT COMES ALIVE.
SO THAT MUSIC EXPECTATION, THAT
MELODIFICATION CAN ACTUALLY
CHANGE THE TUNING OF THOSE EE
ELECTRODES BASED ON THAT
CONTEXT, AND THIS IS A REALLY
IMPORTANT CONTROL EXPERIMENT.
SO THE LAST POINT IS THAT WE
LOOKED AT THOSE OTHER
ELECTRODES, ONES TUNED TO PITCH
AND PITCH CHANGE, NOT THE
EXPECTATION ELECTRODES BUT THE
ONES THAT WERE TUNED TO PITCH
AND PITCH CHANGE, AND WHAT
NARAYAN DISCOVERED WAS THAT IF
YOU LOOK AT THE Y AXIS, WHICH IS
PLOTTING SPEECH RESPONSE VERSUS
THE Y AXIS -- I MEAN THE X AXIS
WHICH IS PLOTTING MUSIC AND THE
Y WHICH IS SPEECH, BECAUSE THIS
DATA FALLS ALONG THE DIAGONAL,
IT MEANS THAT IT'S RESPONSIVE TO
THE PITCH AND THE PITCH CHANGE
OF BOTH SPEECH AND MUSIC.
SO THESE ELECTRODE SITES THAT
ARE PROCESSING THE ABC LAWT
PITCABSOLUTEPITCH AND PITCH CHAE
SHARED IN OUR BRAIN FOR
PROCESSING BOTH MUSIC AND
SPEECH.
AND THE WILL E THE EARLIER STUFD
YOU IS TUNED TO EXPECTATION
THAT'S VERY, VERY SELECTIVE TO
MUSIC AND NOT T TO SPEECH.
SO OUR UNDERSTANDING OF HOW
MELODY IS BEING PROCESSED IN THE
TEMPORAL LOBE IS RAPIDLY
CHANGING.
THIS IS JUST ONE NEW EXPERIMENT
IN A HUGE LITERATURE, A DEEP
LITERATURE ON HOW PITCH AND
MUSIC ARE PROCESSED.
OUR CONTRIBUTION, UNIQUE
CONTRIBUTION HERE IS TRYING TO
DISSECT THIS AT A REALLY
DETAILED LEVEL, DOWN TO THE
LEVEL OF MILLIMETERS AND
MILLISECONDS, TRYING TO
UNDERSTAND THAT THERE IS, IN
FACT, A MAP IN THIS PART OF OUR
BRAIN CALLED THE TEMPORAL LOBE.
DIFFERENT LOCATIONS ARE ENCODING
THINGS LIKE PITCH, PITCH CHANGE,
AND EVEN THE EXPECTATION OF THE
SUBSEQUENT NOTE THAT WE CALL
EXPECTATION VARIABLE.
AND THESE ARE ALL INTERDIGITATED
IN THE SAME PART OF THE BRAIN
THAT WE CALL THE TEMPORAL LOBE.
THE SECOND POINT IS THAT
EXPECTATION IS SOMETHING
LEARNED.
IT'S SOMETHING THAT IS ACQUIRED
THROUGH OUR EXPOSURE TO MUSIC,
IT'S SOMETHING THAT, JUST LIKE
LANGUAGE, BECOMES SPECIALIZED IN
OUR BRAIN, AND IT'S NOT THAT THE
ENTIRE PART OF THAT BRAIN
BECOMES SPECIALIZED, BUT VERY
SPECIFIC SUBPARTS OF IT LEARN TO
APPRECIATE THE PROBABILITIES OF
ONE NOTE FOLLOWING THE NEXT,
WHICH IS SOMETHING THAT WE HEARD
QUITE BEAUTIFULLY AN HOUR AGO.
SO THE CONTRAST TO THAT IS THAT
PITCH AND PITCH CHANGE ARE
GENERAL PROCESSORS, THAT WE'RE
USING THEM BOTH FOR SPEECH AND
MUSIC.
SO THAT'S HOW WE'RE STARTING TO
DIG DEEPER TO UNDERSTAND HOW
THIS ONE AUDITORY PROCESSOR IN
OUR BRAIN IN THE TEMPORAL LOBE
IS PROCESSING BOTH OF THESE
REALLY INCREDIBLE HUMAN-SPECIFIC
BEHAVIORS.
THANK YOU VERY MUCH.
[APPLAUSE]
>> OKAY.
WE'VE HEARD SOME WONDERFUL
TALKS.
WE'RE GOING TO NOW MOVE TO OUR
PANEL DISCUSSION.
EACH ONE OF THE PANELISTS IS
GOING TO MAKE SOME REMARKS,
TWO-MINUTE REMARKS, AND THEN
THERE WILL BE -- WHAT FOLLOWS
WILL BE A GENERAL DISCUSSION.
OUR PANELISTS INCLUDE VICTOR
WOOTEN, FROM BELA FLECK AND THE
FLECKTONES.
ELIZABETH MARGULIS FROM
PRINCETON UNIVERSITY.
PETR JANATA FROM THE UNIVERSITY
OF CALIFORNIA AT DAVIS, FRANK
RUSSO FROM TORONTO METROPOLITAN
UNIVERSITY, TONYA BERGESON, FROM
BUTLER UNIVERSITY AND INDIANA
UNIVERSITY SCHOOL OF MEDICINE,
AND FINALLY, VERN FALBY, FROM
JOHNS HOPKINS UNIVERSITY PEABODY
CONSERVATORY OF MUSIC.
PLEASE JOIN ME AT THE
DISCUSSION.
[APPLAUSE]
>> OKAY.
WEAR GOINWE'RE GOING TO BEGIN WH
VICTOR'S REMARKS.
>> HELLO.
THANKS FOR ALLOWING ME TO BE
HERE.
THIS IS AMAZING.
REALLY QUICKLY, I JUST WANT TO
POSE A THOUGHT TO YOU.
NO TRUTH, NO FICTION, WHATEVER,
IT'S ALL OF THE ABOVE.
JUST IMAGINE IF SOMEONE WAS
DOING A STUDY ON YOU.
MAYBE THEY WERE TEACHING YOU IN
SCHOOLS, THERE WERE BOOKS
WRITTEN ABOUT YOU, BUT NO ONE
EVER TALKED TO YOU ABOUT IT.
AND YOU'RE STILL ALIVE.
PEOPLE WOULD GET A LOT OF THINGS
RIGHT BUT THERE MAY BE SOME
THINGS THAT WERE GOTTEN WRONG.
BUT YOU WOULD PROBABLY BE
SAYING, WOW, YOU'RE WRITING ALL
THIS ABOUT ME AND NOT SPEAKING
TO ME.
SO IN GETTING A CHANCE
FORTUNATELY TO SPEND SOME TIME
WITH SOME ANCIENT CULTURES OR
CIVILIZATIONS IN AFRICA AND
AUSTRALIA, WHERE MUSIC TO THEM
IS A REALITY, THAT GETS THE
EASIEST WAY TO SAY THAT A
SPIRIT, LIKE MY PARENTS AROUND
AREN'T ANYMORE, BUT I STILL
SPEAK WITH THEM, I STILL HEAR
THEM, AND I THINK A LOT OF US
COULD SAY THE SAME THING.
SO AS A THOUGHT, WHAT IF WE
ACTUALLY ASKED MUSIC WHAT MUSIC
THOUGHT AT ANY GIVEN TIME?
WE TALK ABOUT HER A LOT.
WE PLAY ABOUT HER, WE CAN EVEN
WRITE HER DOWN.
AND SOME OF US EVEN LISTEN BUT
DO WE ACTUALLY CONVERSE?
AND JUST TAKE THIS NOT AS TRUTH
OR CRITICISM OR ANYTHING, JUST
THOUGHT, FICTION.
WHAT IF YOU HAD A BEST FRIEND,
AND YOUR BEST FRIEND NO LONGER
LISTENED TO YOU?
HOW LONG WOULD THEY REMAIN YOUR
BEST FRIEND?
PROBABLY NOT THAT LONG.
SO SOME OF US MUSICIANS REALIZE
THAT SOMETIMES WE GO TO PLAY AND
MUSIC DOESN'T SHOW UP.
[LAUGHTER]
YOUR BEST FRIEND WHO YOU DON'T
LISTEN TO WOULDN'T SHOW UP ALL
THE TIME EITHER.
SO JUST AS A THOUGHT, I DON'T
KNOW HOW IT WORKS, BECAUSE I
PLAY MUSIC, I'VE PLAYED MUSIC MY
WHOLE LIFE, AND I WOULDN'T SAY
THAT I STUDY IT IN THE SAME WAY,
BUT HAVING BECOME GOOD FRIENDS
WITH DAN, I REALIZED, WELL, I
HAVE STUDIED MUSIC IN A
DIFFERENT WAY, FROM THE BAND
STAND.
BUT WHEN I HEAR SOMEONE LIKE
SHELLY BERG COME UP WITH A SONG
LIKE THAT, AND HE SAID THE SONG
SHOWED UP IN THE SAME TIME IT
TOOK FOR HIM TO PLAY IT, THAT'S
SOMEONE WHO'S LISTENING.
AND I BELIEVE THERE IS A PLACE
FOR THAT.
OR MAYBE THERE'S A PLACE FOR
THAT IN OUR STUDIES.
MAYBE WE CAN EVEN SEE WHAT
MUSIC -- WE ASK EACH OTHER
QUESTIONS, WE DO THIS, BUT MAYBE
WHAT WOULD HAPPEN IF WE ACTUALLY
ASKED MUSIC, AS IF MUSIC IS A
SPIRIT OR SOMETHING THAT IS
REALLY ALIVE.
LIKE THE WIND, RIGHT?
WE CAN'T SEE THE WIND.
BUT WE CAN FEEL IT, WE KNOW IT'S
THERE.
WE CAN'T SEE MUSIC, BUT LIKE
CONFETTI THAT'S BLOWN IN THE
WIND, WE HAVE NOTES THAT'S BLOWN
BY MUSIC.
MAYBE WE CAN TALK TO MUSIC AND
GET AN ANSWER.
SOMETHING TO THINK ABOUT.
THANKS.
[APPLAUSE]
>> THANK YOU, VICTOR.
WE'RE GOING TO NOW ASK ELIZABETH
MARGULIS.
>> THANK YOU.
SO VICTOR WOOTEN ASKED US TO
LISTEN TO MUSIC, AND NOW I'M
SORRY YOU HAVE ME INSTEAD OF
MUSIC BUT I'LL READ YOU SOME
REMARKS THAT I WROTE IN ADVANCE.
SO MUSIC HAS STRUCTURE THAT LOTS
OF PEOPLE HAVE TALKED ABOUT THIS
MORNING IN TERMS OF ITS
MATERIALS, BUT IT ALSO HAS
STRUCTURE IN TERMS OF ITS USES.
AND INSPIRED BY HOW DIFFERENTLY
PEOPLE EXPERIENCE THE MUSIC OF
VIOLINIST JOSHUA BELL, WHEN HE
APPEARED IN THE WASHINGTON, D.C.
METRO, AS OPPOSED TO THE STAGES
OF CARNEGIE HALL, WE WERE
INSPIRED TO USE NEUROIMAGING TO
EXAMINE WHAT HAPPENED WHEN
PEOPLE LISTENED TO THE SAME
MUSIC, SO THE SAME MATERIAL IN
TERMS OF STRUCTURE, BUT IN
DIFFERENT SIMULATED USE
CONTEXTS.
AND THINK ABOUT HOW IMPOVERISHED
THIS IS COMPARED TO ALL THE
INFORMATION YOU HAVE FROM BEING
IN THE SUBWAY OR BEING IN A
BEAUTIFUL CONCERT HALL.
WE JUST TOLD PEOPLE, YOU'RE
GOING TO HEAR A CONSERVATORY
STUDENT PERFORM NOW, OR YOU'RE
GOING TO HEAR A WORLD RENOWNED
PROFESSIONAL.
ACTIVATION OF REWARD CIRCUITRY
THROUGHOUT THE TRAITION DURATIOE
EXCERPT WAS DEPENDENT ON WHETHER
THEY'D GONE INTO IT THINKING IT
CAME FROM A REVERED ARTIST TORER
NOT.
MUSIC'S MATERIAL STRUCTURE CAN
BE CONTROLLED IN EXPERIMENTS AND
IN CLINICAL SETTINGS THAT I WANT
TO ARGUE THAT WE NEED TO THINK
ABOUT AS MUCH AS THE PATTERNS OF
USE AND EXPOSURE THAT PREDATED
THAT EXPERIMENT OR THAT SESSION
IF WE WANT TO OPTIMIZE THE
EFFECT.
I THINK THAT RESONATES WITH
VARIOUS THINGS WE'VE HEARD THIS
MORNING AS WELL.
I WANT TO EMPHASIZE THAT THIS
DOES NOT CONFINE THINGS TO
HOPELESS SUBJECT TIFLT.
IN FACT EVEN WHEN WE ASK PEOPLE
TO PERFORM A WILDLY
UNCONSTRAINED TASK LIKE FREELY
DESCRIBING THE STORIES THEY
IMAGINED WHILE LISTENING TO
EXCERPTS OF MUSIC THEY'D NEVER
HEARD BEFORE, PEOPLE WHO SHARED
SOME KIND OF CULTURE, SOME
LIFELONG PATTERN OF USE AND
EXPOSURE, IMAGINED HIGHLY
SIMILAR FICTIONAL SCENARIO, DOWN
TO INCREDIBLY CONCRETE ASPECTS
OF KERIK CHARACTER, SET, TIME AD
EVENTS.
MUSIC IS STICKY.
IT ACCRUES SO MUCH OF ITS
SURROUNDING CONTEXTS, FUELING
VIVID MEMORIES AND IMAGINING
THAT CAN BE KEY TO INDIVIDUAL
AND GROUP IDENTITIES.
TO MOVE RESEARCH ON MUSIC AS
MEDICINE FORWARD WE NEED TO
ASSEMBLE RESEARCH TEAMS WHO HAVE
EXPERTISE THINKING DEEPLY ABOUT
BOTH ASPECTS OF MUSIC STRUCTURE,
ITS MATERIAL AND ITS USES IN
CULTURES.
THANK YOU.
[APPLAUSE]
>> OKAY.
WHAT WE'RE LOOKING AT HERE IS
COUPLING OF THE DYNAMIC
STRUCTURE IN MUSIC TO THE
DYNAMICS OF MUSIC-EVOKED
REMEMBERING EXPERIENCES.
SO WE'VE LEARNED THAT MUSIC
DEPENDS ON VARIOUS FEATURES IN
WESTERN TONAL MUSIC, MELODY AND
HARMONY CRUCIALLY DEPEND ON
PITCH, THIS NOTION OF MAJOR AND
MINOR KEYS, AND IT TURNS OUT
THAT THIS HAS A BEAUTIFUL
GEOMETRY THAT WE SEE ON THE LEFT
THERE, THE MAJOR AND MINOR KEYS
ACTUALLY MAP ON TO THE SURFACE
OF A TAURUS OR A BAGEL, GIVEN
THAT IT'S APPROACHING LUNCHTIME.
SO WHAT WE CAN DO IS WE CAN TAKE
ANY PIECE OF MUSIC AND WE CAN
ACTUALLY MODEL HOW IT MOVES
AROUND IN TONAL SPACE, AND WE
CAN THEN USE THOSE SIGNATURES TO
PROBE WHERE IN THE BRAIN THE
TEMPORAL DYNAMICS OF THE
ACTIVITY ARE SORT OF MATCHING
THE TEMPORAL STRUCTURE, AND
THAT'S WHAT WE SEE IN THAT
BOTTOM LEFT RECTANGLE THERE.
EACH OF THOSE VERTICAL COLUMNS
IS THE SIGNATURE OF A 30-SECOND
EXCERPT OF POPULAR MUSIC MOVING
THROUGH TONAL SPACE, AND WE HAVE
TWO SETS OF THOSE BARS.
THOSE THAT ARE EVOKING MEMORIES
AND THOSE THAT AREN'T EVOKING
MEMORIES.
AND WE CAN THEN EXAMINE HOW MUCH
OF THE VARIATION AND THE
ACTIVITY IN EACH GIVEN PART OF
THE BRAIN IS BEING EXPLAINED BY
THE MEMORY EVOKED MUSIC VERSUS
THE NON-MEMORY EVOKING MUSIC AND
THAT RATIO IS THE COLOR CODE
THAT YOU SEE.
SO REGIONS IN RED ARE COUPLING
THAT BRAIN REGION'S ACTIVITIES
COUPLING STRONGLY TO THE MUSIC
WHEN WE'RE EXPERIENCING A MEMORY
SUCH AS IN THE MEDIAL PREFRONTAL
CORTEX, WHICH IS REALLY CRUCIAL
FOR REPRESENTATIONS OF SELF AND
SOCIAL COGNITION OR MEMORIES OF
OTHERS WHICH ARE SO OFTEN A
CENTRAL PART OF THESE
MUSIC-EVOKED REMEMBERING
EXPERIENCES.
SO THESE TYPES OF EXPERIMENTS
ARE HELPING US TRY TO GET AT THE
STRUCTURE OF HOW DYNAMICS OF
MUSIC ARE COUPLING WITH
MEMORIES, AND SORT OF WHERE
WE'RE TRYING TO TAKE IN NOW WITH
THE HELP OF FUNDING FROM THE
SOUND HEALTH INITIATIVE IS
ACTUALLY LOOKING AT THE ROLE OF
THE EARWORM.
SO MUSIC THAT GETS STUCK IN YOUR
HEAD, IN FACT, THAT'S JUST THIS
DYNAMIC STRUCTURE REPEATING OVER
AND OVER, SORT OF REHEARSING,
AND WE'VE BEEN ABLE TO SHOW IN
BEHAVIORAL EXPERIMENTS THAT IT
ACTUALLY -- THOSE EARWORMS HELP
US CONSOLIDATE MEMORIES FOR
OTHER INFORMATION ALSO.
SO WE THINK THAT THAT MAY BE
GETTING AT THE MECHANISM OF HOW
THESE MUSIC-' VOK- -- OR WHY MUC
BECOMES SUCH A STRONG TRIGGER OF
THESE MEMORIES.
AND SO THEN WE'RE HOPING TO TAKE
THAT INTO NEUROIMAGING
EXPERIMENTS WHERE WE CAN LOOK AT
SORT OF THE FORMATION OF
MEMORIES RATHER THAN THEIR
SUBSEQUENTLY ACTIVATED REPLAY IN
THE MANY BRAIN AREAS THAT
SUPPORT THOSE RICH REMEMBERING
EXPERIENCES.
[APPLAUSE]
>> FRANK?
>> OKAY.
SO I'M FRANK RUSSO.
I'M GOING TO START WITH A PAUL
MCCARTNEY QUOTE.
I'M TALKING SPECIFICALLY ABOUT
MUSICAL SYNCHRONY, AND SO IS
PAUL HERE.
HE'S TALKING ABOUT IT IN THE
CONTEXT OF SINGING IN A CHOIR.
YOU CAN THINK ABOUT IT MORE
BROADLY, AN ORCHESTRA PLAYING
TOGETHER, A BAND PLAYING
TOGETHER, PEOPLE DRUMMING,
PEOPLE DANCING.
IT'S AN IMPORTANT PHENOMENA.
I LOVE TO HEAR A CHOIR.
I LOVE THE HUMANITY TO SEE THE
FACES OF REAL PEOPLE DEVOTING
THEMSELVES TO A PIECE OF MUSIC.
I LIKE THE TEAM WORK.
IT MAKES ME FEEL OPTIMISTIC
ABOUT THE HUMAN RACE WHEN I SEE
THEM COOPERATING LIKE THAT.
SOMETHING WE NEED MORE OF RIGHT
NOW.
SO MUSICAL SYNCHRONY IN MY MIND
LEADS TO A BLURRING OF THE
BOUNDARY BETWEEN SELF AND OTHER.
WE STUDY THIS IN THE LAB IN
DIFFERENT WAYS.
WE ASK PEOPLE TO ASSESS THEIR
MOOD FOLLOWING SINGING, SO I
SHOULDN'T SAY THE LAB, SOMETIMES
IT'S A ROOM LIKE THIS WHERE
PEOPLE ARE SINGING TOGETHER.
WE ASK THEM ABOUT THEIR MOOD
BEFORE THEY SING AND AFTER THEY
SING.
THOSE RESULTS ARE NOT JUST
PERFUNCTORY RESPONSES, THEY'RE
NOT JUST TELLING US WHAT WE WANT
TO HEAR.
SOMETIMES WE DO MORE SUBTLE
THINGS, LIKE WE ASK THEM TO
DECIDE WHAT THEY WANT TO DO WITH
SOME MONEY THAT WE GIVE THEM.
AND WE FIND THAT PEOPLE ARE MORE
WILLING TO SHARE THAT MONEY
FOLLOWING AN EXERCISE IN MUSICAL
SYNCHRONY.
SOMETIMES WE STUDY THIS THROUGH
NEUROHORMONES, SO WE ASK THIS
PEOPLE TO PERFORM THIS MUSICAL
SYNCHRONY TASK, WE ASK THEM TO
CHEW ON A SALAVETTE OR SPIT INTO
A TUBE AND THEN WE CAN ASSAY
THAT FOR CORTISOL AND OXYTOCIN.
AND SOMETIMES WE ASSESS PAIN.
SO I'M GOING TO DRILL DOWN JUST
A LITTLE BIT NOW WITH MY NEXT
SLIDE.
AND THIS IS JUST ONE STUDY.
WE'VE STUDIED THROUGH THE SING
WELL NETWORK, IT'S A NETWORK OF
ABOUT 50 RESEARCHERS AROUND THE
WORLD AND WE'VE STUDIED REALLY
HUNDREDS OF CHOIRS NOW AND WHAT
WE SEE CONSISTENTLY IS AN
INCREASE IN PAIN THRESHOLD, THE
EXTENT TO WHICH YOU CAN
WITHSTAND A SMALL AMOUNT OF PAIN
ON THE FINGER OR THE ARM.
THIS SEEMS TO INCREASE WHEN
PEOPLE MOVE TOGETHER THROUGH
SINGING OR THROUGH DRUMMING.
WE SEE THE SIMILAR INCREASE IN
MOOD, AND YOU CAN SEE -- HERE
WE'RE TRACKING A CHOIR FROM WEEK
1 TO WEEK 8 TO WEEK 16.
THIS IS A NEWLY FORMED CHOIR,
IT'S A GROUP OF OLDER ADULTS
THAT ARE NOT PROFESSIONAL
ZINGERS.
AND WHAT ONE CAN SEE IS THAT THE
GROUP SEEMS TO BOND TOGETHER,
AND THEIR MOOD IS ELEVATED
BEFORE THEY EVEN START SINGING.
SO WHEN THEY ARRIVE AT CHOIR AT
WEEK 8, THEY'RE ABOUT WHERE THEY
WERE WHEN THEY ENDED AT WEEK ONE
AND THEY'RE HIGHER AGAIN AT WEEK
16.
THERE ARE MANY CONTROLS WE
SHOULD RUN TO UNDERSTAND THIS.
ONE IS COMPARING THIS TO PEOPLE
SINGING ON THEIR OWN.
I LOVE SINGING ON MY OARNTION
IT'S GREAT, IT'S JUST NOT THE
SAME.
WHAT WE SEE IS WE DON'T GET THE
SAME ELEVATION IN MOOD, THAT
LOWER LEFT BOX THERE, AND WE
DON'T SEE THE SAME ELEVATION IN
OXYTOCIN.
THIS COMPLICATED SOCIAL BONDING
HORMONE.
SO THERE'S A LOT MORE TO DO, BUT
IT'S ANOTHER IMPORTANT ASPECT OF
MUSIC AND MUSIC INTERVENTIONS,
THIS POWER FOR BONDING AND THE
BLURRING ITSELF.
[APPLAUSE]
>> TONYA?
>> HI, EVERYBODY.
SO MUSIC CAN HAVE AN ENORMOUS
IMPACT ON AFFECT OR MOOD, AS
WE'VE HEARD SEVERAL TIMES THIS
MORNING.
ONE OF THE EARLIEST AND MOST
OBVIOUS EXAMPLE IS CAREGIVER
SINGING TO BABIES WHO SPEND A
LOT OF TIME CRYING.
>> MANY RESEARCH STUDIES HAVE
NOW SHOWN THAT CAREGIVER SINGING
CAN BE USED TO ENGAGE THE
ATTENTION OF INFANTS AND HELP
REGULATE INFANTS' MOOD.
CAREGIVERS SPEECH TO BABIES IS
ALSO MUSICAL WITH PITCH
CONTOURS, SING SONGY RHYTHMS AND
REPETITION OF THEMES SIMILAR TO
THAT OF MUSIC.
WE'VE SHOWN THAT CAREGIVERS ALSO
ADJUST THEIR MUSICAL SPEECH AND
SINGING TO ACCOMMODATE THINGS
LIKE HEARING LOSS IN BABIES.
ONE OF MY STUDIES EVEN SHOWED
THAT MOTHERS USE UNIQUE TUNES IN
THEIR SPEECH TO BABIES THAT THEY
REPEAT OVER TIME.
THIS ALL LEADS TO BABIES LEADING
MORE ATTENTION AND POSITIVE
AFFECT WHEN LISTENING TO INFANT
DIRECTED SPEECH AND SINGING AND
WHEN LISTENING TO THEIR OWN
CAREGIVER COMPARED TO ANOTHER
ADULT.
AND THEN, AS WE GET OLDER, WE
BECOME MORE FAMILIAR WITH MUSIC
OUTSIDE OF OUR SMALL CAREGIVER
CIRCLE.
AS YOU CAN SEE IN THE PICTURES
ON THE LEFT DURING OUR TEENAGE
YEARS, WE START TO ASSOCIATE
POSITIVE EMOTIONS WITH MUSIC
THAT WE MIGHT LISTEN TO WITH OUR
FRIENDS IN SOCIAL SETTINGS.
LET'S SAY SOMEONE LISTENED TO
KISS WITH THEIR BUDDIES IN THE
80s, AND THEY ALL MET ZINGER
PSINGERPAUL STANLEY AND A LOCAL.
THESE ARE NOW TIED TO SPECIFIC
MEMORIES THAT COME UP WITH THE
WHEN THE PERSON LATER GOES TO A
KISS CONCERT.
THESE WILL ALSO BE THE
MEANINGFUL MEMORIES THAT LAST
EVEN IF AN OLDER ADULT DEVELOPS
DEMENTIA.
OUR RECENT STUDIES SHOW PLAYING
INDIVIDUALIZED MUSIC FROM THEIR
ADOLESCENT YEARS FOR OLDER
ADULTS WITH DEMENTIA RESULTS IN
DECREASED SHORT TERM SUNDOWNING
SYMPTOMS AND LONGER TERM
BENEFITS FOR MOOD, BEHAVIOR AND
COGNITION.
THIS LAST VIDEO SHOWS WE CAN
IMPROVE THE MOOD OF AN OLDER
ADULT IN SIMILAR WAYS THAT
CAREGIVERS REGULATE MOOD IN
BABIES IF WE PLAY THE RIGHT
MUSIC.
[JAZZ MUSIC PLAYING]
>> THANK YOU.
[APPLAUSE]
>> BATTING CLEANUP FOR US IS
VERN.
>> THERE IS TO MUCH TO KNOW!
BY A SHOW OF HANDS, WHO IN THIS
AUDIENCE HAS EVER BEEN MOVED BY
A PIECE OF MUSIC?
DID YOU FEEL COMFORTED,
UPLIFTED, INSPIRED?
AND DID YOU EVEN TRY IN A MOMENT
OF DIFFICULTY TO SELF-MEDICATE
WITH MUSIC?
ARE YOU INTREAGED ABOUT HOW
MUSIC WORKS IN THESE WAYS UPON
US?
THROUGHOUT MY CAREER, INCLUDING
THREE DECADES ON THE MUSIC
THEORY FACULTY AT PEABODY
CONSERVATORY OF THE JOHNS
HOPKINS UNIVERSITY, I HAVE
INSTRUCTED AND COACHED MUSICIANS
IN LEARNING HOW TO THINK BY EAR,
SO THEY CAN BETTER STRATEGIZE
HOW BEST TO REACH AND MOVE THEIR
AUDIENCES THROUGH THEIR MUSICAL
PERFORMANCES AND COMPOSITIONS.
MUSICIANS WORK DILIGENTLY ALL
THROUGH THEIR CAREERS, EXPRESSLY
TO STIR EMOTIONS IN THEIR
AUDIENCES.
I'VE BEEN FOLLOWING EMERGING
EFFORTS AT PEABODY JOHNS
HOPKINS, THE NIH AND BEYOND TO
EXPLORE MUSIC'S RELATION TO BOTH
HEALTH AND THE BRAIN.
MY SENSE IS THAT A MAJOR
CHALLENGE IN THESE
INTERDISCIPLINARY EFFORTS TO USE
MUSIC AS A THERAPEUTIC
INTERVENTION IS ENSURING THAT WE
INVESTIGATE PIECES OF MUSIC
THEMSELVES WITH THE RIGOR AND
REPRODUCIBILITY THAT CORRESPOND
TO THE OVERALL RIGOR AND
REPRODUCIBILITY OF THE
SCIENTIFIC APPROACH.
THE GOOD NEWS, I BELIEVE THIS IS
ENTIRELY POSSIBLE.
IN MY YEARS WORKING AT
PROFESSIONAL SCHOOLS OF MUSIC
AND IN PRIVATE PRACTICE, I'VE
EVOLVED REPRODUCIBLE ANALYTICAL
APPROACHES THAT HELP PERFORMERS
AND COMPOSERS UNDERSTAND AND
CAPITALIZE ON THE ARCHITECTURE
OF WHOLE MUSICAL PIECES.
IN VARIOUS GENRES FROM BACH,
LENNON, MCCARTNEY AND BEYOND,
AND AT VARIOUS HIERARCHICAL
LEVELS OF DESIGN, ALL FOR THE
PURPOSE OF BETTER COMMUNICATING
WITH THEIR AUDIENCES.
IT IS WHOLE PIECES THAT
INTRIGUE, CAPTIVATE AND MOVE US
IN LISTENING.
I KNOW A LOT ABOUT HOW PIECES
ARE DESIGNED BY COMPOSERS,
MASTERED BY PERFORMERS AND
EXPERIENCED BY LISTENERS.
I'M SEEKING SCIENTIFIC PARTNERS
INTERESTED IN DEVELOPING
HYPOTHESES TO TEST THE EFFECTS
OF A RANGE OF DESIGN FE FEATUREN
PIECES OF MUSIC FOR THEIR
THERAPEUTIC EFFECTS AND
BENEFITS.
SUCH RIGOR IS ROUTINE IN THE
DEVELOPMENT OF OTHER TYPES OF
EFFECTIVE MEDICAL INTERVENTIONS.
LET'S BRING RIGOROUS EXAMINATION
OF THE MUSIC ITSELF THAT MOVES
US SO, AS WE HARNESS MUSIC'S
POWER TO HEAL.
THANK YOU.
[APPLAUSE]
>> THANK YOU.
GIVEN THE TIME, WE ARE NOW GOING
TO MOVE TO THE Q & A PORTION OF
THE PANEL DISCUSSION.
I ENCOURAGE PEOPLE WHO HAVE
QUESTIONS TO COME UP TO THE MIC
THAT'S IN THE CENTER, MAYBE JUST
INTRODUCE THEMSELVES AND THEN
ASK THEIR QUESTION.
I'M GOING TO KICK THINGS OFF,
BECAUSE VERN GAVE ME THE PERFECT
SEGUE.
WHAT ARE SOME OF THE -- WHAT ARE
THE UNTAPPED RESEARCH IDEAS AND
OPPORTUNITIES IN MUSIC AS
MEDICINE THAT CAN BE EMPLOYED TO
STUDY BRAIN AND BODY DISORDERS?
AND IT'S OPEN TO ANYBODY HERE,
OR THERE.
OKAY, PLEASE GO AHEAD.
>> WES KATZ, UNIVERSITY OF
MARYLAND.
WHEN YOU'RE LOOKING AT THE BASIC
BIOLOGY OR PHYSIOLOGY OF MUSIC,
SUBJECT SELECTION IS CRITICALLY
IMPORTANT.
SO HOW DO YOU SELECT SUBJECTS,
WHETHER THEY ARE PROFESSIONAL
MUSICIANS, SELF-IDENTIFIED
MUSICIANS, NOVICES?
HOW DO YOU DETERMINE THAT, AND
HOW DOES THAT IMPACT ON YOUR
STUDIES?
GENERAL QUESTION.
>> IT SEEMS TO ME THAT PEOPLE
SELF-SELECT FOR MUSIC.
IF YOU PLAY A PIECE OF MUSIC AND
YOU WATCH WHOSE EYES LIGHT UP,
THERE'S A CERTAIN PROCLIVITY TO
RESPOND THAT YOU COULD USE TO
AUDITION OR INTERVIEW PEOPLE AND
STUDY THOSE PEOPLE.
I'M NOT QUITE SURE THAT JUST
RANDOM INQUIRY OF PEOPLE IN
GENERAL.
I THINK IT HAS SOMETHING WITH
VICTOR, WHAT YOU WERE SAYING YOU
HAVE TO BE IN CONVERSATION WITH
THE MUSIC, YOU KNOW?
EVEN WHEN YOU DON'T -- YOU KNOW
IT'S INTUITIVE, WE DON'T NEED TO
KNOW HOW IT WORKS, BUT YOU HAVE
TO GET SOME KIND OF RESPONSE.
>> WE HAVE SOME INSTRUMENTS IN
THE FIELD FOR ASSESSING DEGREE
OF MUSECALITY.
FRANK, DO YOU WANT TO DESCRIBE
THEM?
YOU WERE INVOLVED IN SOME OF
THEM.
>> YEAH, THERE ARE SOME MUSICAL
APTITUDE TESTS TA HAVE BEEN
DEVELOPED THAT ARE USEFUL IN
CHARACTERIZING WHO IS RECEIVING
MORE OF A RESPONSE VERSUS
ANOTHER.
THERE ARE SOME INSTRUMENTS
REGARDING THE EXTENT TO WHICH
WE'RE ABSORBED BY MUSIC, THE
EXTENT TO WHICH WE RECEIVE A
REWARD FROM MUSIC, SO THE EXTENT
TO WHICH THOSE MESSOLIMBIC
PATHWAYS LIGHT UP.
THERE ARE UNIQUE INSTRUMENTS
THAT HAVE BEEN DEVELOPED FOR ALL
THOSE TYPES OF MUSIC DIMENSIONS.
WITH RESPECT TO HOW WE SELECT
PEOPLE, I JUST WANTED TO SAY
THAT SOMETIMES WITH MUSIC
INTERVENTIONS, IT'S VERY
IMPORTANT FOR US TO SELECT
PEOPLE THAT HAVE VERY LITTLE
FORMAL MUSIC TRAINING, BECAUSE
WE'RE INTERESTED IN THAT
CAUSALITY.
IN OTHER INSTANCES, WE'RE
LOOKING AT HOW DOES A LIFETIME
OF MUSIC MAKING INFLUENCE US.
SO WE'LL WANT TO COMPARE AND
ACCOMPLISHED MUSICIAN TO A
NON-MUSICIAN.
SO THE SELECTION REALLY DEPENDS
ON THE QUESTION, BUT WE HAVE
SOME WELL DEVELOPED INSTRUMENTS
NOW.
>> THANK YOU.
>> AND IN GENERAL, BY
INSTRUMENTS, HE MEANS
MEASUREMENT INSTRUMENTS, OF
COURSE.
>> RIGHT.
[LAUGHTER]
>> THANK YOU.
>> IN GENERAL, THE FIELD IS
MOVING TOWARDS A RECOGNITION
THAT A LOT OF PEOPLE WHO ARE
MUSICIANS, AS FRANK WAS ALLUDING
TO, MAY NOT PLAY AN INSTRUMENT
OR SING.
THEY MAY BE EXQUISITELY
SENSITIVE TO MUSIC, THEY MAY BE
ABLE TO BECOME ENGAGED DEEPLY
WITH MUSIC IN A WAY THAT WE
NORMALLY THINK ONLY A MUSICIAN
OR COMPOSER WOULD, BUT WE CAN
MEASURE THAT, AND CLASSIFY THEM
AS SUCH.
>> I WANT TO THANK ALL THE
SPEAKERS THIS MORNING.
IT WAS FANTASTIC.
I HAVE A QUESTION FOR EDDIE, AND
THE QUESTION IS, YOU'RE NO DOUBT
FAMILIAR WITH THE EARLIER
STUDIES FROM NANCY CAMASHIRE AND
JOSH AND SAM LOOKING AT
SPECIALIZATIONS FOR MUSIC VERSUS
LANGUAGE IN THE BRAIN.
BUT WHAT YOU'RE DESCRIBING FROM
THE ECOG STUDIES AS OPPOSED TO
FMRI STUDIES IS THAT THERE
REALLY IS INTERDIGITATION AND
INTERMIXING.
FIRST QUESTION IS, HOW DOES YOUR
WORK IMPACT AND MAKE US PERHAPS
RE-THINK THEIR EARLIER STUDY,
AND THE SECOND QUESTION IS, IT
SEEMS LIKE THE SORT OF MUSICAL
MELODIFICATION IF YOU WILL OF
SPEECH THAT YOUR POSTDOC IS
WORKING ON IS VERY SIMILAR WITH
WHAT'S GOING ON WITH MOTHERESE,
NOW KNOWN AS PARENTESE, BUT HOW
DO WE THINK ABOUT THAT AS BEING
A WAY OF ACCESSING AND
ACTIVATING THE BRAIN, BOTH FOR
MUSIC AND FOR SPEECH IN
CHILDHOOD?
>> THANKS, JOHN.
SO THE FIRST QUESTION WAS REALLY
ABOUT THIS SCIENTIFIC
NEUROBIOLOGICAL CLAIM THAT WE
HAVE A MUSIC AREA, A DEDICATED
PART OF THE CORTEX THAT IS
WHOLLY SPECIALIZED FOR MUSIC,
AND I THINK THAT'S BEEN DEBATED
AN CONTENTIOUS FOR SOME TIME.
I THINK OURS IS JUST ONE PIECE
OF EVIDENCE WITH A SLIGHTLY
DIFFERENT PICTURE.
WE DO SEE SPECIALIZATION TO
MUSIC.
WE DO SEE SINGLE SENSORS AND
ELECTRODE SITES IN THAT PART OF
THE TEMPORAL LOBE THAT ARE
SELECTIVE TO MUSIC, BUT THEY'RE
SCATTERED WITHIN THE AUDITORY
CORTEX SO FAR THAT WE CAN SEE
AMONG THE ONES THAT ARE
PROCESSING SPEECH IN OTHER
SOUNDS AS WELL.
SO I THINK THERE ARE TWO SIDES
TO THIS.
IT IS A LITTLE BIT DIFFERENT
THAN THE UNDERSTANDING THAT WE
HAD, BUT IT IS A STEP FORWARD
THAT IT WAS NOT AS SIMPLE AS
JUST THE MUSIC AREA.
I THINK JOSH, SAM AND NANCY HAVE
LOOKED AT SIMILAR DATA WITH
ACTUALLY SIMILAR CONCLUSION AS
WELL.
IN FACT, IF YOU LOOK CAREFULLY
AT THE ORIGINAL STUDIES, I THINK
YOU COULD SEE THE EVIDENCE.
IT WAS MAYBE OVERSIMPLIFIED AS
PEOPLE WERE TRYING TO REDUCE A
STORY FROM IT, BUT THE REALITY
IS IT'S QUITE INTERDIGITATED.
I THINK IN THAT SENSE, IT MAKES
SENSE BECAUSE OF THIS
INTERACTION ACTUALLY AS YOU
ALLUDE TO IN YOUR SECOND
QUESTION.
BETWEEN MELODY AND SPEECH,
THEY'RE BOTH FORMS OF
COMMUNICATION, THEY'RE BOTH LIKE
AUDITORY AND VOCAL.
IT SEEMS QUITE NATURAL THAT THEY
WOULD BE USED IN COMBINATION.
TO ME, IT SEEMS ALMOST UNNATURAL
THAT WE HAVE SUCH A DICHOTOMY
ACTUALLY BETWEEN SPEECH AND
MUSIC, BUT IN SINGING AND OTHER
FORMS, THEY ARE COMPLETELY
INTERLEAVED, INTERDIGITATED IN
FORM.
WE ARE STARTING TO THINK ABOUT
WHY MOTHERESE HAS THAT
PARTICULAR PATTERN TO IT, WHY IS
THAT MOTHER'S VOICE AND
ENUNCIATION USED IN THE PITCH
AND THE PITCH CONTOUR SO HELPFUL
TO A BABY TO LEARN AND SET DOWN
THOSE NEURAL IMPRINTS FOR THE
FIRST LANGUAGE.
AND WE'RE JUST GETTING STARTED
TO UNDERSTAND THIS, BUT IT'S A
NATURAL IMPORTANT QUESTION.
THANKS FOR BRINGING THAT UP.
>> THANK YOU.
>> JUST TO FOLLOW UP ON THAT,
DR. CHANG, I WONDER IF YOU'VE
HAD ANY INDIVIDUALS WHO HAPPEN
TO BE IN YOUR STUDY WHO HAD VERY
EARLY AND INTENSE MUSICAL
TRAINING, AND IF SO, WHETHER YOU
CAN PERCEIVE THERE'S ANY
DIFFERENCE IN THE FINDINGS.
BECAUSE WE NEED TO THINK THE
BRAIN AS NOT SORT OF FIXED, IT'S
PLASTIC, IT'S RESPONDING,
ESPECIALLY IN EARLY LIFE TO
INFLUENCES.
I'D LOVE TO KNOW WHETHER THE
PATTERNS CHANGE FOR SOMEBODY WHO
HAD REALLY INTENSE MUSICAL
TRAINING BEFORE AGE 7.
>> I'VE HAD A COUPLE OF
EXPERIENCES AND PRIVILEGES,
REALLY, TO WORK WITH PATIENTS
WHO -- YOU KNOW, PEOPLE COME TO
US WITH ALL KINDS OF LIFE
EXPERIENCES.
NOT SURPRISINGLY, SOME OF THEM
COME WITH VERY INTENSE MUSICAL
TRAINING.
AS WELL IN FACT, I REMEMBER A
16-YEAR-OLD WHO UNFORTUNATELY
WAS SUFFERING FROM TEMPORAL LOBE
SEIZURES AND WE HAD TO MAP THOSE
OUT AND ELECTRODES WERE THERE,
AND IT WAS A SURREAL EXPERIENCE
FOR ME TO SEE AND PLAY KEYBOARD
IN THE HOSPITAL ROOM AS WE WERE
MAPPING THE MUSIC AND LANGUAGE
PARTS OF HIS BRAIN.
AND THERE ARE DIFFERENCES, AND
THE DIFFERENCES PRIMARILY WE SEE
ARE AROUND THESE AREAS THAT ARE
NOT SPECIFIC TO SPEECH OR
LANGUAGE, THE GENERAL AUDITORY,
BUT REALLY SOME OF THESE AREAS
THAT ARE ENCODING OUR LEARNED
KNOWLEDGE, THE MEMORY OF MUSIC
AND THE EXPECTATIONS THAT ARE
FORMED BY IT.
AND WE HAD ANOTHER INSTANCE THAT
I RECALL QUITE WELL OF A PASTOR
WHO UNFORTUNATELY HAD A BRAIN
TUMOR, AND WE HAD TO MAP OUT
THIS BRAIN TUMOR WITH HIM AWAKE
DURING SURGERY AND HE SAID,
DR. CHANG, THE ONE THING THAT I
REALLY NEED YOU TO DO IS PROTECT
MY ABILITY TO PLAY GUITAR.
BECAUSE EVERY SATURDAY, THIS IS
REALLY IMPORTANT PART OF MY
LIFE, AND I SHARE THIS WITH MY
CHURCH, ET CETERA.
SO IT WAS THE FIRST TIME THAT I
HAD BEEN ABLE TO HAVE SOMEONE
PLAY ACOUSTIC GUITAR IN THE
OPERATING ROOM WHILE WE WERE
DOING BRAIN SURGERY.
AND THE SCARY PART ABOUT IT FOR
ME, AT LEAST, WAS THAT NOT
KNOWING, YOU KNOW, THERE'S SO
MUCH TO LEARN ABOUT HOW MUSIC IS
PROCESSED IN THE BRAIN, WHERE IS
THAT PART OF THE BRAIN?
WHAT WAS THAT CRITICAL PART THAT
WE HAD TO PROTECT, YOU KNOW, AS
PART OF THE SURGERY.
AND ONE OF THE THINGS THAT WE
FOUND IN THIS PARTICULAR
INSTANCE WAS THE AREA THAT WAS
PROCESSING HIS WORDS ACTUALLY
WAS ALSO PROCESSING HIS MUSIC.
MEANING THAT THE SAME AREA THAT
WE STIMULATED THAT STOPPED HIM,
STOPPED HIS SPEECH TEMPORARILY
WHEN WE APPLIED A SMALL
ELECTRICAL STIMULATION AND
ARRESTED HIS SPEECH, ALSO
ARRESTED HIS GUITAR-PLAYING,
WHICH FUNDAMENTALLY CHANGED THE
WAY I THINK ABOUT HOW THESE TWO
FORMS OF COMMUNICATION CAN
OCCUR.
IT WAS SOMETHING THAT I HAD BEEN
TRAINED IN SOMETHING VERY
SPECIALIZED FOR LANGUAGE, AND IF
YOU ACTIVATE IT DURING SURGERY,
IT ACTUALLY INACTIVATES HIS
ABILITY TO PLAY GUITAR.
SO I COULDN'T SLEEP THAT NIGHT,
JUST THINKING HOW MUCH I'VE
LEARNED IN MEDICAL SCHOOL MIGHT
BE PARTIALLY WRONG.
THE BAROKA'S AREA IS NOT JUST A
LANGUAGE AREA, PER SE.
>> I'LL FOLLOW UP ON THAT
BECAUSE WE ALL KNOW THESE
AMAZING STORIES, HAD A STROKE,
AFFECTED BAROKA'S AREA BUT THEY
LEARNED TO SING EVEN THOUGH THEY
HAVE TROUBLE WITH SPEECH.
HOW DOES THAT WORK?
>> I DON'T KNOW AND I'D LOVE TO
HEAR FROM OTHERS.
YEAH.
IT'S TRUE, THOUGH.
AND THAT'S A REALLY IMPORTANT
THING.
>> WHAT FRANCIS IS REFERRING TO
IS MELODIC INTONATION THERAPY.
AND THE REASON THAT SEEMS TO
WORK IS THAT, YES, ALTHOUGH THEY
ARE OVERLAPPING AREAS, AT THE
SHOWED NEURAL CIRCUITS THAT
OVERLAPPED FUNCTION IN DIFFERENT
MODES, DEPENDING ON WHETHER IT'S
MUSIC OR LANGUAGE, WE'LL HAVE TO
RELY ON EDDIE TO SORT THAT OUT,
WHAT THAT MEANS, BUT THE IDEA OF
MELODIC INTONATION THERAPY LIKE
WITH CONGRESSWOMAN GIFFORDS WAS
THAT YOU'VE GOT SOME INTACT
CIRCUITS THAT ARE OVERLAPPING
WITH SOME THAT ARE DAMAGED, AND
YOU CAN SORT OF BOOTSTRAP
YOURSELF INTO RESTORING EITHER
THE DAMAGED CIRCUITS OR THERE'S
SO MUCH REDUNDANCY IN THE BRAIN,
YOU'RE ABLE TO TAP INTO
REDUNDANT CIRCUITS THAT WERE
LATENT AND LYING DORMANT.
>> WE HAVE SOMEONE WHO'S BEEN
VERY PATIENT AT THE SIDE MIC.
>> [INAUDIBLE] THE QUESTION IS
RELATED TO EXPECTANCY AND
EXPECTATIONS.
[INAUDIBLE] PANTS PAI ANTICIPATN
OUT COME RELATED TO EXPECTATION,
SO HOW MUCH -- EXPECT TO BENEFIT
FROM A MELODY.
SOMEHOW THIS IS NOT IMMEDIATELY
RELATED WITH THE AUDITORY
ENCODING OR -- FOR MUSIC.
CAN YOU COMMENT ON THIS, AND
SHOULD WE -- [INAUDIBLE]
EXPECTATIONS -- INDIVIDUAL
EXPECT FROM MUSIC [INAUDIBLE].
>> YEAH, THAT'S A VERY GOOD
QUESTION.
>> [INAUDIBLE]
>> NOT REALLY, BUT --
>> RAISE YOUR VOICE.
>> SO THE QUESTION IS ABOUT
SEPARATING EXPECT TAN EXPECTANCE
SCRIBE HOW WE CAN ANTICIPATE
PREDICTION OF A NOTE, AND
SEPARATE THE ENCODING OF PITCH
AND PITCH CHANGES FROM
EXPECTANCY OF SPECIALIZATION FOR
MUSIC.
BUT ALSO WE KNOW THAT EACH OF US
HAS AN EXPECTATION WHEN WE
LISTEN TO A MELODY, AND IF WE
HAVE SPIRITUAL AND EMOTIONAL
EX-PECKS TO MUSIC, SHOULD WE
STUDY BOTH THAT EFFICIENTLY MAY
BE DIFFERENT IN A MUSICIAN
VERSUS EXPECTATION OF AN
OUTCOME, EXPECTATION OF A MELODY
AS MEDICINE, AND IF SO, HOW CAN
WE ASSESS THIS KIND OF COGNITIVE
EXPECTATIONS THAT CHARACTERIZE
EACH PERSON?
>> LET ME TRY TO OFFER A
SPECULATION, BECAUSE I DON'T
KNOW, BUT WHAT WE REALLY STUDIED
WAS PROBABILITY -- FOLLOWING THE
NEXT IN THE CONTEXTUALLY OF A
SEQUENCE OF NOTES.
AND WHAT IT'S TELLING US IS THAT
SOME OF THESE VERY, VERY SMALL
SITES ARE REALLY JUST CARING
ABOUT THAT INSTANTANEOUS NOTE,
AND THEN THE OTHERS REALLY THAT
CHANGE IN THE NOTE AND THEN THE
OTHERS, IT ALMOST LIKE IT'S THE
PROBABILITY BASED ON OUR MEMORY
OF THAT SEQUENCE OF NOTES, NOT
THE INDIVIDUAL NOTES BUT THE
SEQUENCE OF THAT MELODY.
AND WHY THAT'S IMPORTANT IS
BECAUSE IT'S LINKED INTO
NOVELTY.
IT'S LINKED INTO STRUCTURE, AND
THOSE THINGS LINKED TO OTHER
BRAIN AREAS.
SO THINGS THAT WHEN SOMETHING
HAPPENS THAT'S UNPREDICTABLE,
THAT WILL ACTIVATE OTHER PARTS
OF THE BRAIN.
THE BASAL GANGLIA, THE REWARD
SYSTEMS.
THOSE ARE SIGNALS THAT THE BRAIN
USES ACTUALLY TO DERIVE
ATTENTION, REWARD, AND IT'S JUST
A SPECULATION THAT THERE MIGHT
BE SOME SHARED MECHANISMS, NOT
JUST BETWEEN SOUND, BUT ALL OF
OUR SENSES, ABOUT OUR
EXPECTATIONS AND HOW IT LINKS TO
INNER THINGS THAT MIGHT GIVE US
A SENSE TO WHY PEOPLE LIKE
CERTAIN TYPES OF MUSIC EVEN THAT
HAVE DIFFERENT PROBABILITY
STRUCTURE.
SO THAT'S JUST A FIRST LEVEL,
YOU KNOW, SORT OF SPECULATION.
>> SO TYING THIS ALL TOGETHER,
WE'RE ALL TRYING TO WORK FROM
THE LEVEL OF THE NEURON TO THE
LEVEL OF THE NOTE, AND VERN IS
TALKING ABOUT ENTIRE MUSICAL
PIECES.
>> ABSOLUTELY.
I WANT TO STUDY ABOUT MUSICAL
EXPECTATION, I WANT TO STUDY
BACH.
>> RIGHT.
AND EDDIE IS WORKING AT THE
LEVEL OF INDIVIDUAL NEURONS.
LISA HAS A LARGER SCALE OVERVIEW
OF HOW EXPECTATION AT A MORE
COGNITIVE LEVEL.
WOULD YOU LIKE TO JUMP IN?
>> SURE.
WELL, PEOPLE IN THE SCIENCE OF
MUSIC REALLY CARE ABOUT
EXPECTATION, YOU MIGHT HAVE
NOTICED THIS MORNING.
SO SOME OF THE STUDYS THAT HAVE
BEEN ABLE TO ISOLATE EMOTIONAL
EFFECTS IN NEUROIMAGING CON
TECHS, FOR EXAMPLE, DEPEND ON
MEASURING CHILLS, THE RESPONSES
PEOPLE HAVE, THEIR SKIN CRAWLS
AND HAIR STANDS ON END, AND YOU
CAN PREDICT TO A CERTAIN EXTENT
THE KIND OF MOMENT WHERE A
PERSON MIGHT HAVE THAT
EXPERIENCE.
AND IT'S MOMENTS WHERE SOMETHING
SURPRISING HAPPENS.
BUT PEOPLE HAVE TO KNOW ENOUGH
ABOUT THAT PARTICULAR STYLE AND
WHAT CONSTITUTES A SURPRISE
GIVEN THAT CONTEXT FOR THE WHOLE
EFFECT TO WORK.
SO THERE'S LOTS OF STUDYS THAT
HAVE LOOKED AT THE KINDS OF
EXPECTATIONS PEOPLE SUSTAIN
WHILE LISTENING AND SHOWING THAT
EVEN THESE NOTE TO NOTE ONES
LIKE EDDIE'S TALKING ABOUT CAN
CHANGE BASED ON GENRE.
SO A NOTE THAT MIGHT -- I MEAN,
THAT'S JUST WHAT SHELLY
DEMONSTRATED FOR US THIS
MORNING, I SUPPOSE.
AND THEN IN THE WORK THAT I WAS
TALKING ABOUT, THE KIND OF
SITUATION OR WHO PEOPLE THOUGHT
WAS MAKING THE SOUND INFLUENCED
HOW THEY WERE -- WHAT THEY WERE
EXPECTING TO HEAR AND WHAT THEY
WERE EXPECTING TO GET FROM IT.
SO I THINK YOU'RE EXACTLY RIGHT,
THAT IT'S NESTED AT ALL THESE
DIFFERENT HIRE ARCIC LEVELS.
>> SO FROM NEURONS TO NOTES TO
NOCTURNS, WE MIGHT SAY.
>> THANK YOU.
>> KEEPING THE FOCUS ON EDDIE
FOR A MINUTE, IF I COULD CALL
YOU EDDIE.
YOU'RE VERY POPULAR TODAY,
ALTHOUGH ALL THE TALKS WERE
FANTASTIC.
I'M SHIFTING GEARS A LITTLE BIT.
THE MUSIC-SPECIFIC REGIONS THAT
YOU'RE TALKING ABOUT, DO YOU
HAVE ANY SPECULATION ABOUT HOW
EVOLUTIONARY CONSERVED THEY ARE?
DO YOU FIND THEM IN OTHER
PRIMATES, DO YOU FIND THEM IN
DOGS?
OBVIOUSLY SONG BIRDS IS A WHOLE
SEPARATE CASE, BUT I'M
INTERESTED IN WHAT YOU KNOW
ABOUT EVOLUTION, IF ANYTHING.
>> I THINK THAT WHAT WE SEE
THERE MUST BE TRUE.
YOU KNOW, IF YOU THINK -- I
THINK ABOUT THIS IN THE CONTEXT
OF SPEECH, MIMI GAVE A GREAT
TALK ABOUT SONGBIRDS, LIKE THE
NOTES THEMSELVES HAVE NO
MEANING.
THE INDIVIDUAL PITCH OF A
CONSONANT OR VOWEL REALLY HAS NO
MEANING.
IT'S REALLY THESE HIGHER ORDER
ELEMENTS THAT ARE SEQUENCED
TOGETHER.
THAT'S WHERE THE MEANING IS
GENERATED.
SO I KNOW IT MUST BE TRUE THAT
IT MUST BE CONSERVED BECAUSE
MANY ORGANISMS USE THESE SIGNALS
AS COMMUNICATION-DERIVED
MEANING, AND MUST BE -- I THINK
IF ANYTHING WHAT WE SEE MUST BE
ANALOGOUS PROBABLY, BUT WE
HAVEN'T LOOKED AT THAT DIRECTLY
IN OTHER ORGANISMS.
I'D LOVE TO HEAR FROM MIMI MAYBE
IF THAT'S TRUE OR NOT.
>> I GUESS I WAS TRYING TO THINK
ABOUT ERIC JARVIS' WORK, HE
STUDIES SONGBIRDS, ALL SORTS OF
VOCAL LEARNING ANIMALS.
ONE OF HIS IDEAS IS THAT THE
SPECIALIZATIONINGS FOR VOCAL
LEARNING THAT I TALKED ABOUT
RIGHT OUTSIDE THOSE REGIONS,
RIGHT NEXT TO THEM, THERE ARE
OTHER REGIONS THAT TALK TO ONE
ANOTHER IN KIND OF A PARALLEL
CIRCUIT, AND HIS IDEA IS THAT
THOSE REGIONS ARE SPECIALIZED
FOR MOVEMENTS, PERHAPS RHYTHMIC
MOVEMENTS LIKE DANCE.
SO THAT TAP INTO KIND OF THE
SAME SENSE OF TEMPORAL PRECISION
AND SYNCHRONY ACROSS LOTS OF
DIFFERENT AREAS AND SO I GUESS
SONGBIRDS PEOPLE, VOCAL LEARNERS
ARE UNIQUE IN THAT THEY HAVE
EVOLVED THESE AREAS THAT ARE
SPECIALIZED FOR HEARING,
LISTENING, PRODUCING THESE
BEHAVIORS, BUT IT COULD -- OTHER
REGIONS COULD BE INVOLVED IN
SIMILARLY RHYTHMIC BEHAVIORS
THAT ARE NOT VOCAL OR
SOUND-RELATED.
>> IT WOULD BE FASCINATING IF
EVOLUTION NARELY, YOU COULD
FIGURE OUT WHAT THE ER FUNCTION
IS, HOW FAR BACK THEY GO, BUT
THANKS A LOT.
>> IT ALSO IMPORTANT TO
RECOGNIZE THAT RHYTHM AND PITCH
ARE NOT ENTIRELY DISTINCT.
IT MIGHT PLAY YOU A -- IF I PLAY
YOU A SERIES OF TONES, NOISE
BURSTS, CLICKS, FAST ENOUGH,
THEY BECOME PITCHED.
SO IT'S NOT A DICHOTOMY AS IT'S
OFTEN THOUGHT.
>> BUT JUST BACK TO YOUR
QUESTION, IT MAKES ME CONTINUE
TO WONDER WHEN WE FIRST SAW
THIS, IT WAS ACTUALLY ALMOST
HARD TO BELIEVE, THAT WE OFTEN
TIME HAVE THIS IDEA THAT
AUDITORY CORTEX IS ALMOST LIKE
THE KEYS ON A PIANO.
YOU HAVE THESE DIFFERENT
LOCATIONS THAT ARE TUNED TO
DIFFERENT SOUNDS, BUT DO YOU
HAVE A KEY FOR A WHOLE SEQUENCE
OF SOUNDS?
THAT'S WHAT WE'RE STARTING TO
SEE, THAT THERE'S ONE KEY THERE
THAT IS LIKE A MEMORY OF A SOUND
PROBABILITY.
SO HOW THAT CAN HAPPEN, LIKE HOW
A NEURON OR A SET OF NEURONS
COULD EMBED MEMORY LIKE THAT IS
A DEEP, DEEP INTERESTING
QUESTION.
YEAH.
>> FIRST OF ALL, THIS IS
INCREDIBLE.
I MEAN, I'M A VOICE GUY.
IT'S REALLY EXCITING TO HEAR
WHAT HAS BEEN REALIZED IN TERMS
OF BRINGING MUSIC TO SPOKEN
WORD, TO WORD, AND WHAT HAPPENS
IN THE BRAIN.
I WONDER HOW MUCH RESEARCH OR
HOW MUCH DELVING INTO CULTURES
THAT JUST INSTINCTIVELY DO THAT.
YOU KNOW, I MEAN, THIS IS -- I
MEAN, I HAD A VERY INTERESTING
EXPERIENCE AS A CHILD, I GREW UP
IN SITUATIONS WHERE I DIDN'T
HAVE A LOT OF PEOPLE HOLDING ME
AND STUFF, SO I HUMMED ALL THE
TIME.
IT WAS LIKE SOUND IS HOW I PUT
MYSELF TO SLEEP, SOUND IS HOW I
FUNCTIONED.
SO WHEN I WAS -- BEGAN TO BE
INTRODUCED TO SPEAKING, IT WAS
WAY MORE COMFORTABLE FOR ME TO
SING WHAT I WAS THINKING THAN TO
SAY WHAT I WAS THINKING, BECAUSE
I FELT IT FROM THE INSIDE OUT.
IF YOU LOOK AT A LOT OF THE WEST
AFRICAN CULTURES, YOU KNOW, THE
MELODIC NARRATIVE IS A REALLY,
REALLY IMPORTANT PART, IT'S HOW
WE TEACH HISTORY, IT'S HOW THAT
WHOLE THING HAPPENED.
SO I JUST WONDER HOW MUCH OF A
REACH INTO JUST EXPLORING SOME
OF THOSE INDIGENOUS CULTURES,
THAT THAT'S JUST AN INSTINCTIVE
PART OF A WAY OF BEING, YOU
KNOW?
IT'S NOT SEPARATE FROM BUT IT'S
A WAY OF BEING, THE M MELODIC
NARRATIVE COMMUNITIES WOULD COME
TOGETHER AND SING TOGETHER,
DANCE TOGETHER AND CREATE MUSIC
TOGETHER BECAUSE SOMEONE ELSE
STATED EARLIER, WHEN YOU DO
THAT, YOU KNOW, IT'S LIKE
THERE'S A COHERENCE THAT
HAPPENS.
YOU KNOW, YOUR VOICES COME
TOGETHER.
SO SOME OF THESE NATURAL
INSTINCTS.
AND FOR ME, I THINK THAT THAT'S
THE MOST POWERFUL THING WHERE
SCIENCE AND RESEARCH WERE REALLY
LEARNING THE INTRICACIES OF
THIS, SO THAT FROM A PRACTICAL
APPLICATION STANDPOINT OF VIEW,
LIKE I'VE BEEN IN SITUATIONS
WHERE IN A CLINICAL SETTING,
WORKING WITH SOMEONE WHO'S IN
THE HOSPITAL, HAVING A
CONVERSATION WITH THEM, AND THEN
TURNING THEIR CONVERSATION INTO
MUSIC, ALL OF A SUDDEN THEY
AWAKEN IN A DIFFERENT WAY.
SO I JUST REALLY FEEL LIKE
THERE'S SO MUCH THAT CAN HAPPEN
IN TERMS OF GETTING TO THE POINT
WHEREAS ARTISTS, WE PRACTICALLY
APPLY WHAT WE CAN LEARN AND KNOW
AND UNDERSTAND FROM YOU ALL, AND
SOME OF THIS IS AS OLD AS TIME.
RIGHT?
I GUESS THAT WASN'T A QUESTION.
[APPLAUSE]
>> YOU KNOW, I WANT TO SAY AT
THE BEGINNING OF MY THING WHEN
WE STARTED THIS MORNING, I
MENTIONED THAT I WAS AT A
CONFERENCE HERE 27 YEARS AGO IN
WASHINGTON, D.C.
IT WAS ALL ABOUT MUSIC ADVOCACY
IN THE SCHOOLS AND HOW MUCH
MUSIC HAD BEEN TAKEN OUT OF THE
SCHOOLS AT THAT TIME.
AND ONE OF THE LAMENTATIONS AT
THAT CONFERENCE WAS THAT OUR
COUNTRY, UNITED STATES, DOESN'T
HAVE AS MUCH SHARED SONG THAT
EVERYBODY KNOWS, THAT EVERYBODY
LEARNS, THAT UNIFIES AND BINDS
US, AND I MIGHT SAY -- I MIGHT
POSIT THAT 27 YEARS LATER, WE'RE
FEELING THE EFFECTS OF THAT.
>> THIS IS REALLY, I THINK A
REALLY IMPORTANT THING.
I MEAN, YOU KNOW, IN THE 50s
AND IN THE 60s, WE ALL
LISTENED TO THE SAME MUSIC.
YOU KNOW, I GREW UP IN NEW
JERSEY SO ON WABC, YOU HEARD THE
BEATLES, YOU HEARD THE ROLLING
STONES, YOU HEARD THE
TEMPTATIONS, YOU HEARD MARIO
LANZA.
WE ALL HEARD THE SAME KIND OF
MUSIC.
WE ALL DANCED TO THE SAME KIND
OF MUSIC.
THERE WAS A WHOLE BUNCH OF OTHER
STUFF GOING ON, BUT THE REALITY
OF THE THING IS THAT WE DID HAVE
THAT COMMONALITY.
YOU KNOW, AND THEN WHEN WE MOVED
INTO THE 60s AND 70s, YOU
KNOW, THERE WERE SONGS, THERE
WERE SONGS ABOUT WAR AND POLL
POLITICS AND WHAT WAS GOING ON,
WE HAD THOSE KIND OF
CONVERSATIONS, AND THOSE ARE NOT
HAPPENING NOW.
SO I THINK YOU'RE ABSOLUTELY
RIGHT, SHELLY.
I MEAN, THAT DIVISION, YOU KNOW,
IS ANOTHER THING FOR US TO THINK
ABOUT.
WHAT'S OUR COMMON MELODIC
LANGUAGE?
WHAT'S THE COMMONALITY, YOU
KNOW, THAT WE HAVE TOGETHER,
BECAUSE THAT'S WHAT I -- I
BELIEVE THAT'S WHAT BUILDS THE
BRIDGE BETWEEN WHAT AS ARTISTS
WE DESIRE TO DO AND WHAT WE CAN
KNOW SO THAT WE CAN PRACTICALLY
APPLY ALONG WITH OUR COLLEAGUES
WHO ARE THERAPISTS SO THAT YOU
HAVE THAT SPECIFIC THERAPEUTIC
SETTING, BUT COMMUNALLY, WE
UNDERSTAND AND WE EMBRACE THE
OPPORTUNITY TO BUILD THAT BRIDGE
SO THAT WE CAN MOVE FORWARD
TOGETHER.
>> I HAVE A QUICK RELATED
THOUGHT THAT SPEAKS TO MUSIC
EDUCATION.
I SHOULD BE CAREFUL ABOUT WADING
INTO MUSIC EDUCATION AS SOMEONE
WHO ISN'T AN EDUCATOR, BUT YOU
SPOKE ABOUT CULTURES WHERE MUSIC
JUST FLOWS OUT OF US AND WE ALL
SING TOGETHER AND WE DANCE
TOGETHER.
THERE IS SOMETHING IN THE WEST,
MAYBE OTHER PLACES AS WELL,
WHERE WE HAVE A KIND OF
HIERARCHY, WHERE CERTAIN PEOPLE
ARE RECOGNIZED AS HAVING GIFTS
AND THEY'RE CHANNELED INTO
SPECIAL TRAINING OPPORTUNITIES,
AND THAT SHOULD HAPPEN.
LIKE -- IT'S GREAT TO EXPERIENCE
THIS ELITE LEVEL OF MUSIC.
BUT IF THERE'S SOMETHING WE CAN
DO TO FIND THAT M MUSICALITY
THROUGH ALL OF US THROUGH
EDUCATION, THAT'S EXTREMELY
VALUABLE.
SOME OF THE INTERVENTION WORK
THAT WE DO INVOLVES OLDER ADULTS
THAT DON'T -- NEVER SANG, NEVER
PLAYED AN INSTRUMENT, AND SOME
OF THE WORK IS JUST BREAKING
THEM OUT OF, I CAN'T DO THIS.
LIKE, I'M NOT A MUSICIAN.
YES, YOU ARE A MUSICIAN.
WE ARE ALL MUSICIANS.
YOU'VE JUST GOT TO FIND THAT.
>> THERE'S AN -- SO WE WERE
TALKING ABOUT EVOLUTION JUST A
FEW MOMENTS AGO.
ACROSS EVOLUTIONARY HISTORY,
HOWEVER LONG IT IS, YOU WANT TO
SAY THAT HUMANS HAVE BEEN
AROUND, YOU CAN SAY 40,000,
200,000 YEARS, DEPENDING ON HOW
YOU DRAW IT, BUT FOR ALMOST ALL
THAT TIME, EVERYBODY WAS
INVOLVED IN MUSIC.
EVERY LISTENED TO THE SAME SONGS
AND EVERYBODY SANG ALONG.
MUSIC WAS PARTICIPATORY, IT WAS
UNIVERSAL.
IT WAS ABOUT 500 YEARS AGO WITH
THE CONSTRUCTION OF THE FIRST
CONCERT HALLS IN EUROPE, WE
CREATED THIS SPECIAL CLASS THAT
FRANK ALLUDED TO OF THE EXPERTS
THAT WHI WE WOULD PAY TO PLAY --
>> OR THE CHURCH.
>> YOU NEVER HEAR ANYBODY SAY,
I'M NO MARTIN LUTHER KING SO I'M
NOT GOING TO TALK TO YOU.
WITBUT YOU HEAR PEOPLE SAY, I'MO
RENEE FLEMING SO I'M NOT GOING
TO SING.
HOW COULD I POSSIBLY, YOU KNOW,
DARE TO SING?
AND YET IT GOES AGAINST OUR
EVOLUTIONARY CULTURE NOT TO HAVE
IT -- AND NOBODY SAYS I'M NO
MICHAEL JORDAN SO I'M NOT GOING
TO PLAY BASKETBALL.
MUSIC HAS THIS FUNNY LITTLE
THING, CULTURALLY, WHERE WE FEEL
THAT WE CAN'T PARTICIPATE.
WE'RE EMBARRASSED OR SOMETHING.
AS VICTOR IS SAYING, MUSIC
DOESN'T WANT IT THAT WAY.
>> WE HAVE TIME FOR ONE MORE
QUESTION.
>> WOW.
OKAY.
SO I GET TO CLOSE WITH --
>> MAYBE TWO.
>> OKAY.
SO I WANTED TO CONTINUE KIND OF
ON THE SAME THEME, WHICH IS SORT
OF THIS EVOLUTIONARY POWER OF WE
HAVE THOUSANDS OF YEARS AND A
SENSE OF HISTORY ABOUT GREAT
PIECES OF MUSIC.
AND KIND OF MY OBSERVATION AT
LEAST FROM THINGS PRESENTED
TODAY, FROM AN ENGINEERING POINT
OF VIEW, A LOT OF PEOPLE ARE
WORKING ON WHAT WE CALL THE
FORWARD PROBLEM.
SO NOTES OR TONES OR SOUNDS, AND
THEN MEASURE SOMETHING IN THE
BRAIN.
TO WHAT EXTENT ARE PEOPLE
WORKING MORE ON THE INVERSE
PROBLEM?
SO WE HAVE ALL OF THIS BODY OF
WORK, OF POWERFUL MUSIC, THAT
MAYBE THERE'S SOME COMMON
CULTURAL CONSENSUS BUILT OVER
TIME ABOUT ITS BEAUTY, ITS
MEMORABLE, IT'S MOVING, AND IN
SIGNAL PROCESSING, WE CAN TAKE
THOSE THINGS APART, AND SOLVE
WHAT WE CALL TRANSFORMS TO
ANALYZE THE INFORMATION CONTENT,
SO CONSENSUS POWERFUL BEAUTIFUL
MUSIC, CAN WE CONVERT THAT, AND
EVERYBODY IS DANCING AROUND HERE
WHAT WE CALL FOURRIER SPACE OR
TRANSFORMATIONS THAT ARE
MATHEMATICAL THAT ARE
REPRESENTED IN SPACE AND TIME.
SO ARE PEOPLE TAKING KNOWN
BEAUTIFUL POWERFUL PIECES OF
MUSIC, DOING THE TRANSFORM OF
THOSE, AND THEN TRYING TO
UNDERSTAND HOW THAT MIGHT MAP
OUT INTO HUMAN
BRAIN BODY COORDINATION AND THE
NOTES AND SEQUENCES SO WE CAN
DISCRIMINATE BETTER AND FEEL
THINGS MORE.
>> I WANT TO TALK WITH YOU.
SO THERE'S ATTENTION THERE AND
IN THE SLIDE I HAD UP IS ONE WAY
OF MODELLING COMPELLING ASPECT
OF MUSIC AND WE CAN DO SIMILAR
THINGS MORE EXPLICITLY FOR ANY
MEMBER OF DIMENSIONS THAT END UP
CONVEYING A LOT OF THE MEANING
TO PEOPLE.
THERE'S THIS REAL TENSION
BETWEEN AESTHETIC IDEALS
EMBODIED IN SOME PIECE OF MUSIC
VERSUS THE EXPERIENCE OF THE
INDIVIDUAL.
AND AT THE END OF THE DAY WHAT
ENDS UP SHAPING OUR BRAINS IS
THAT INTERACTION.
SO SIMILARLY PEOPLE WANT TO FIND
WHAT IS LIKE THE RECIPE FOR AN
EAR WORM.
IT'S REALLY DIFFICULT TO GET
THAT.
AND SO THE ANALYSIS OF THE
MUSICAL STRUCTURE TRYING TO
SOLVE THE PROBLEM IS GREAT.
WE CAN IDENTIFY A LOT OF THE
PARTS OF THE BRAIN THAT RESPOND.
THEY TEND TO BE WITHIN THE
AUDITORY CORTEX, TEMPORAL LOBE
IN GENERAL.
PERHAPS EVEN IN THE LATERAL
PREFRONTAL AREAS THAT REPRESENT
ASPECT OF MUSICAL SEQUENCES BUT
THEN SO MUCH OF THE RICHER
PATTERN OF BRAIN ACTIVITY THAT
ONE SEES IS THEN REALLY THE
MEMORY IS AND ALL THE INDIVIDUAL
BRAINS TO THE EQUATION WHEN
THEY'RE HEARING A PIECE OF MUSIC
THAT MIGHT BE MOVING TO THEM IN
THE MOMENT AND THAT CAN'T HELP
BUT REINFORCE THAT IDIOSYNCRATIC
CIRCUITRY FOR THAT INDIVIDUAL
THAT RESIDES ON THIS SCAFFOLD
WHICH IS BEEN FAIRLY WELL
CONSERVED ACROSS INDIVIDUALS AND
PERHAPS EVEN SPECIES.
>> OKAY.
THAT WAS NOT A QUICK QUESTION.
>> IT'S A SLOW ANSWER.
I'M SORRY.
>> IT WAS A GREAT QUESTION JUST
NOT A QUICK ONE.
I WANT TO GIVE OUR SPEAKERS AND
OUR PANELISTS MY THANKS AND I
WOULD LIKE TO ALSO LIKE TO GIVE
THEM TIME TO GET LUNCH.
SO WITH THAT WE WILL BREAK.
>> THANK YOU.
OUR LUNCH BREAK IS GOING TO END
PROPERLY AT 1:00 P.M. SO PLEASE
BE BACK HERE.
THERE'S CONCESSIONS OUTSIDE AND
ALSO VARIOUS RESTAURANTS IN THE
AREA.
WELL, HELLO LADIES AND
GENTLEMEN.
EVERYBODY JOINING US TODAY.
OUR WORKSHOP PARTICIPANTS.
THANK YOU.
WELCOME BACK I HOPE YOU HAD A
LOVELY LUNCH BREAK WITH
WONDERFUL CONVERSATIONS AND SAW
CONNECTIONS MADE WITH OUR
SPEAKERS AND PANELISTS IN THE
FIRST SESSION.
WE'LL BEGIN THE NEXT PORTION OF
THIS MEETING WITH SPECIAL
REMARKS FROM DR. JOSHUA GORDON.
HE'S THE DIRECTOR OF THE
NATIONAL INSTITUTE OF MENTAL
HEALTH AND WE'RE GOING TO
WELCOME DR. GORDON TO THE STAGE
AND HEAR A FEW REMARKS BEFORE WE
MOVE INTO OUR NEXT SESSION.
DR. GORDON.
>> THANK YOU VERY MUCH.
THOSE LOOKING UP AT THE STAGE AT
ME MIGHT RECOGNIZE WITH THE
WHITE SHIRT AND GRAY PANTS IT'S
INFORMAL BUT I WORE IT ON
PURPOSE.
THIS IS ABOUT CLOSE AS I CAN GET
TO THE UNIFORM I WAS SUPPOSED TO
WEAR IN JUNIOR HIGH SCHOOL BAND.
WHITE SHIRT AND BLACK PANTS BUT
WHAT MIDDLE SCHOOLER HAS OR
WANTS TO OWN BLACK PANTS SO
USUALLY THEY WERE DARK, DARK
BLUE.
DEFINITELY COULDN'T WEAR MY
JEANS AND I WOULD ALWAYS GET
SCOLDED BECAUSE THEY WERE NEVER
BLACK.
BUT I REALLY CHERISHED MY OWN
EXPERIENCE WITH MUSIC GROWING UP
AND I PLAYED THE ALTO SAXOPHONE.
IN THIRD GRADE I WAS TOLD BY MY
PARENTS I HAD TO LEARN AN
INSTRUMENT AND I WAS GIVEN A
CHOICE OF THE INSTRUMENT I
WANTED TO LEARN.
MY OLDER BROTHER HAD WANTED TO
LEARN TO PLAY THE SAXOPHONE BUT
WHEN HE WENT TO SCHOOL THAT THE
TIME SCHOOLS LENT YOU THE
INSTRUMENT, RIGHT.
WHEN YOU WENT TO SCHOOL THEY RAN
OUT OF SAXOPHONES SO HE HAD TO
LEARN THE BAROTONE AND YOU COULD
RENT ANYTHING YOU WANTED AND A
GOT A SAXOPHONE AND PLAYED THAT
SAXOPHONE FROM THIRD GRADE
THROUGH MIDDLE SCHOOL AND HIGH
SCHOOL AND JAZZ BAND I AM
COLLEGE WITH VARIOUS AND SUNDRY
BANDS AND EVEN WON THE BATTLE
BANDS AND UNTIL I MET MY WIFE
AND BECAME TOO HAPPY TO PLAY THE
BLUES.
I STILL LOVE LISTENING TO MUSIC
AND AN IMPORTANT PART AS PART OF
MY DEVELOPMENT AS A HUMAN BEING
AND WHAT KEEPS ME HAPPY AND WHAT
ENSURES MY OWN MENTAL HEALTH AND
I STILL TURN TO MUSIC IN TIMES
OF SADNESS AND JOY.
JUST FROM THOSE EXPERIENCES WE
ALL KNOW HOW IMPORTANT MUSIC IS
TO OUR MENTAL HEALTH.
WE'VE BEEN MUSIC THERAPISTS FOR
AS LONG AS THERE'S BEEN
THERAPISTS IN THE MUSIC HEALTH
FIELD AND MUSIC HAS A ROLE TO
PLAY IN HEALING AND IN HEALING
FOR MENTAL HEALTH.
I KNOW YOU LEARN ABOUT THE
RESEARCH WORLD AND THE SCIENCE
THAT WAS SHARED AND DAVID IS ONE
OF OUR PROGRAM OFFICERS AT
NIMHD.
I THANK YOU.
FIRST, THANK YOU FOR INCLUDING
ME IN THE PROGRAM TODAY
ESPECIALLY DR. FRANCIS COLLINS
AND RENE FLEMING AND THOSE IN
THE AUDIENCE THOSE RUNNING THE
PROGRAM AND RESEARCH OR JUST
ENJOYING THE BENEFITS OF THAT
RESEARCH.
I REALLY THANK YOU FOR ALLOWING
NIMHD AND MYSELF TO PLAY A ROLE
IN THIS INITIATIVE.
WHEN ONE THINKS OF MUSIC AND
MENTAL HEALTH, ONE HAS THAT SORT
OF NATURAL CONNECTION BETWEEN
THOSE TWO CONCEPTS BUT AT THE
SAME TIME WE AT NIMHD FEEL VERY
STRONGLY THAT EVEN THINGS WE'VE
BEEN DOING FOR A LONG TIME, IF
WE DON'T HAVE THE EVIDENCE THEY
WORK WE NEED TO ESTABLISH THAT
FROM A SCIENCE PERSPECTIVE.
AND MORE IMPORTANTLY, WE DON'T
THINK WE'VE UNCOVERED ALL THE
THINGS NA MUSIC CAN DO TO HELP
INDIVIDUALS WITH MENTAL ILLNESS
OF ALL SORTS AND PROUD TO
SUPPORT RESEARCH PROJECTS
THROUGH THE INITIATIVE AND OTHER
WAYS.
LET ME GIVE YOU A SENSE OF SOME
OF THAT.
ONE OF THE RESEARCH PROJECTS IS
BY INVESTIGATOR MIRIAM LENS AND
WARREN JONES OF VANDERBILT AND
EMORY UNIVERSITIES RESPECTIVELY.
THEY'RE USING MUSIC TO SHOW OR
HOW SINGING TO INFANTS ELICITS
FACIAL EXPRESSIONS BETWEEN THE
CAREGIVER AND INFANT AND WE KNOW
FROM PRIOR WORK THAT
SYNCHRONIZITIATION HELPS SELF
SOOTHING AND THE DEVELOPMENT OF
THE PRECORTICAL FUNCTION FOR
EMOTIONAL AND ACADEMIC
DEVELOPMENT.
WE HOPE TO ESTABLISH SINGING IS
ONE OF THE MANY FACTORS THAT CAN
AID IN THAT SIN SYNCHRONIZATION
AND THE BEST WAY TO FORTIFY
INDIVIDUALS AGAINST THE
CHALLENGES AND RISKS FOR MENTAL
ILLNESS IS USING MUSIC AND A
FORMER COLLEAGUE OF MINE IS
STUDYING SOCIAL ANXIETY
DISORDER.
IN SOCIAL ANXIETY DISORDER ONE
OF THE THINGS THAT HAPPENS WITH
PATIENTS WHO SUFFER FROM THAT IS
THAT THEY READ CUES OF THE WORLD
DIFFERENTLY BUT FACIAL CUES.
DR. SCHNEIDER HAVE BEEN TRYING
TO TEACH PEOPLE THAT THE FACIAL
CUES ARE NOT AS DANGEROUS AS
THEY THINK YOU ARE.
WHEN SOMEBODY IS SMILING AT YOU
NOT BECAUSE THEY HAVE AN EVIL
PLAN BUT APPRECIATING IT AND
PEOPLE WITH SOCIAL ANXIETY HAVE
A BIAS TOWARDS A NEGATIVE
INTERPRETATION TOWARDS THE
FACIAL EXPRESSIONS.
THEY'RE LOOKING AT WHETHER
ADDING MUSIC TO THE STANDARD
TRAINING AROUND INTERPRETATION
OF THESE FACES CAN HELP IN TERMS
OF ALLOWING PEOPLE TO DIAL DOWN
THEIR EMOTIONAL RESPONSES TO
THESE PERCEIVED NEGATIVE FACES
AND AND UNDERSTAND THEY'RE
NEUTRAL OR POSITIVE.
ANOTHER USE OF MUSIC NOT DURING
DEVELOPMENT, NOT TO PREVENT
ILLNESS BUT TO TREAT ILLNESS.
SO WE'RE VERY PROUD THEIR WORK
THEY'RE DOING WITH NIMHD
SUPPORT.
ONE OF THE MOST SEVERE AND
INTRACTABLE ILLNESSES IS
SCHIZOPHRENIA.
IT'S A DISEASE WHICH CREATES
TREMENDOUS BURDENS AND IS A REAL
CHALLENGE IN TERMS OF TRYING TO
ACHIEVE REMISSION AND RECOVERY.
ONE WOULD THINK OF ALL ILLNESSES
WE'RE CONCERNED ABOUT AT NIMHD
MAYBE SCHIZOPHRENIA WHICH IS A
DISEASE WHERE HAVE YOU
HALLUCINATIONS DELUSIONS AND
DIFFICULTY WITH FIRM AND
INCORRECT BELIEFS ABOUT THE
WORLD AND IT SEEMS LIKE A
FUNDAMENTAL BIOLOGICAL ILLNESS.
DR. PHIL CORALET AND COLLEAGUES
AT YALE ARE USING MUSIC TO SEE
IF IT HELPS WITH PSYCHOSIS WITH
PROFOUND DISTURBANCES OF REALITY
BY HAVING INDIVIDUALS WITH
SCHIZOPHRENIA MAKE SONGS, CREATE
MUSIC AND TO SEE IF THE
COGNITIVE PROCESSES THAT ARE
INVOLVED IN CREATING MUSIC WHICH
INVOLVES IMAGINATION AND
CONSTRUCTION OF CONCEPT HELPS
INDIVIDUALS GET CONTROL OVER
THEIR PSYCHOSIS AS WELL.
IT'S REALLY INTERESTING TO THINK
ABOUT THESE THREE PROJECTS IN
THE CON NEXT OF OUR GREATER
PORTFOLIO.
I'M PROUD OF THIS WORK WE HAVE
MORE WORK TO DO IN MUSIC AND
MENTAL HEALTH MORE BROADLY AND
APPRECIATE THE SUPPORT AND THE
INITIATIVE IN FURTHERING THE
WORK AND GIVING ME THE HOPEFULLY
INTERESTING DETAILS OF THE WORK
WE'RE DOING.
>> THANK YOU FOR THE REMARKS AND
SESSION 2 FOCUSES RESEARCH ON
MUSIC THERAPY AND MUSIC
MEDICINE.
IT'S GOING TO BE LED BY DR
DR. APRISE STANDING IN FOR
DR. ONKEN AND IT'S LED BY MARIA
NURMINSKAYA AND DR. NORRIS FROM
DREXEL UNIVERSITY.
I'LL LET YOU TAKE IT OVER.
>> WE'D LIKE TO WELCOME YOU TO
SESSION 2.
WE'RE WELCOMING YOU TO THE
JOURNEY THROUGH THE EVOLUTION OF
MUSIC AND MEDICINE.
OVER OF THE NEXT 90 MINUTES
WE'LL LOOK AT APPLIED RESEARCH
IN CLINICAL SETTINGS AND WHAT
SUPPORTS EVOLVING WORK.
FIRST WE'D LIKE TO WELCOME TO
THE STAGE JERALYN GLASS.
SHE'S AN ACCLAIMED SINGER AND
HAS BEEN SHARING THE GIFT OF
MUSIC TO THE WORLD FOR DECADES
NOW.
>> IT'S POSSIBLE TO LIVE A LIFE
WITH WHOLENESS AND JOY.
AS A SINGER I KNOW OUR BODIES IS
A VIBRATING INSTRUMENT WITH OUR
ON YOU UNIQUE SIGNATURE THAT IS
OURS TO DEVELOP AND TO EXPRESS
AS FULLY AS POSSIBLE AND IT
TAKES US BEYOND WORDS AND HUMAN
TOUCH AND JOURNEY US TO THE
PLACE OF THE SUBLIME.
SO WAS TAKEN ATOP THE MOUNTAIN
OF MACHU PICHU AND THIS CHANGED
EVERYTHING I KNEW ABOUT LIFE AND
DEATH AND SO BEGAN MY DEEPENED
JOURNEY WITH MUSIC HEALING.
I'D LIKE TO SHARE A LITTLE BIT
ABOUT MY WORK WITH THIS
INSTRUMENTS WHICH BEGAN 17 YEARS
AGO.
PLEASE LOOK AT THE FIVE UNIQUE
IMAGES OF F NOTES IN DIFFERENT
OPTIVES AND TUNINGS CREATED BY
THE SIMOSCOPE INVENTED BY JOHN
STEWART REED.
WE CAN MARVEL AT THE ORDER
KNOWING THE CRYSTAL SINGING
BOWLS MAY AFFECT OUR BRAINS AND
BODIES DIFFERENTLY THAN OTHER
ACOUSTIC INSTRUMENTS WHO HAVE A
CHAOTIC COMPONENT IN THEIR
SPECTO GRAM.
I WAS FULLY IMMERSED IN AN
INTERNATIONAL CAREER IN MUSIC
WHEN I BROUGHT SEVEN INSTRUMENTS
HOME TO MUNICH AND BEGAN SHARING
THEM WITH MY FAMILY, STUDENTS
AND MY FRIENDS.
WHAT I FOUND REMARKABLE WAS THAT
WHEN A VOICE STUDENT HAD A
BLOCKAGE, I WOULD ASK THEM TO
CHOOSE ONE OF THE SEVEN BOWLS
AND TONE WITH IT.
ASTOUNDINGLY THE BLOCKAGE IN
THEIR VOICE WOULD DISSIPATE.
IN ONE SITUATION THE 16-YEAR-OLD
GIRL WHO HAD TROUBLE OPENING UP
HER HIGH RANGE AND TRAINED HER
VOICE WITH AN OCEAN INDIAN D
NOTE AND BEGAN CRYING.
SHE RECALLED A TRAUMA FROM HER
CHILDHOOD AND I WITNESSED SOUND
AND ITS ABILITY TO HEAL TAKE
PLACE RIGHT IN FRONT OF MY EYES.
FIRST WITH MYSELF TO HELP ME
FEEL AND PROCESS MY OWN GRIEF
AND THEN WITH OTHERS INCLUDING
CANCER AND HOSPICE PATIENTS AND
VETERANS AND THE SAME PRINCIPLE
OF ENTRAINMENT WITH THE
FREQUENCIES OF THE BOWLS AND A
SILENT MEDITATOR FOR YEARS TOLD
ME WITH REVERENCE I'M NO LONGER
AFRAID OF DEATH AS I'VE NOW
HEARD THE SOUNDS OF HEAVEN.
A MAN FROM SOUTH AFRICA ASKED ME
WHAT KIND OF VOODOO DID YOU DO
AND I EXPERIENCED MYSELF WIDE
AWAKE AND PRESENT WITHOUT ANY
THOUGHT.
ANOTHER WOMAN A VETERAN JUMPED
UP AND EXPLAINED IN WONDER, I'VE
BEEN THROUGH IT ALL -- I'VE BEEN
RAPED, I'VE SEEN DEATH, I'VE
BEEN A TEST ANIMAL FOR COUNTLESS
MEDICATIONS AND THIS SOUND WAS
THE ONLY THING THAT TRULY RE
RELIEVED MY PAIN.
I'M BLOWN AWAY.
I INVITE YOU NOW TO EXPERIENCE
THESE MAGNIFICENT INSTRUMENTS
FOR YOURSELF.
MUSIC AS MEDICINE HELPS US
BREATHE AND FEEL AND HEAL.
THIS I KNOW.
PLEASE CLOSE YOUR EYES AND LET'S
BEGIN.
TAKE SOME LONG DEEP BREATHS.
SO IS THE SOUNDS IN COMBINATION
WITH SETTING AND INTENTION
PERHAPS SOMETHING YOU'D LIKE TO
TRANSFORM.
SOMETHING YOU'D LIKE TO RELEASE
OR LET GO OF.
SOMETHING THAT'S UP FOR YOU TO
HEAL.
PLEASE LET THAT INTENTION AS WE
IMMERSE OUR SELVES IN THESE
CRYSTALLIN SOUNDS.
>> INVITING YOU TO FIND YOUR
TONE WHATEVER THAT MIGHT.
TAKE A GENTLE HUM AS WE UNITE
TOGETHER IN SOUND VIBRATION.
YOU FEEL YOUR OWN BODY ACTIVATE
THROUGH YOUR OWN HUM.
FEELING THE SENSATION MOVE
WITHIN YOU.
THERE IS JOY.
>> THANK YOU VERY MUCH.
>> THANK YOU, SO MUCH JERALYN.
WE'LL MOVE ON WITH OUR SPEAKERS.
LET ME INTRODUCE OUR WONDERFUL
PANEL.
THE FIRST ONE WILL BE MARISOL
NORRIS AND THEN MARIA
NURMINSKAYA INVESTIGATION OF
MIAMI.
JOANNE LOWEY AND CARLENE BROWN
FROM SEAT PACIFIC AND GAMMON
EARHART.
PLEASED, MARISOL.
>> HELLO AGAIN.
SO IN THE EARLY 1800s, JAPANESE
ARTIST BEGAN A SERIES OF WOOD
BLOCK PRINTS ARE WITH HIS
EXPERIENCE WITH MOUNT FUJI AND
OUT OF THE 36 IMAGES HAILED BY
ARTISTS AND LOVERS ALIVE AND THE
GREAT WAVE HAS BECOME ONE OF THE
MOST POWERFUL AND POPULAR
PIECES.
THIS WOOD BLOCK PRINT AND THE
IMAGE OF THE WAVE CAME TO MIND.
WE SO BEAUTIFULLY DISCUSSED
FORMULATIONS OF PHYSICS AND
SONIC WAVES AND THE INTERPLAY TO
SUPPORT HEALTH AND WHOLENESS AND
WELLNESS.
AND THE NATURE OF OUR WORK AND
THE HOWS AND WHYS MUSIC WORK AND
THE OBJECTIVES.
THE OBJECTIVES OF THE ARTISTS,
OF THE RESEARCHER AND
PRACTITIONER AND RELATIONSHIP TO
THE TRANSFORMATIVE POWER OF THE
WORK.
THE CURRENTS THAT PLAY INFORMING
OUR COURSE AND OUR COLLECTED
JOURNEY TOWARDS WHOLE BEING.
OVER THE PAST DECADES WE'VE SEEN
GREAT STRIDES IN MUSIC RESEARCH.
WHILE MUSIC THERAPY AND MEDICINE
INVOLVED THE USE OF MUSIC EN
HEALTH CARE WE'VE SEEN MUSIC
THERAPY LED BY PRACTITIONERS
SUPPORT WHOLENESS AND MUSIC
MEDICINE OFTEN INTRODUCED BY
HEALTH CARE PROFESSIONALS,
UTILIZATION OF MUSIC IN THE
BROADER CONTEXT OF MEDICAL CARE.
EARLY NIH SUPPORTED STUDIES
CONCENTRATED ON THE
PHYSIOLOGICAL AFFECTS OF MUSIC
EXAMINING THE IMPACT ON HEART
RATE, BLOOD PRESSURE AND STRESS
LEVELS AS THE FIELD PROGRESSED,
RESEARCH BEGAN TO INVESTIGATE
THE COGNITIVE AND PSYCHOLOGICAL
DIMENSIONS OF MUSIC EXPLORING
THE POTENTIAL AND MITIGATING
SYMPTOMS ACROSS MENTAL HEALTH.
IN THE LATE 20s CENTURY THE NIH
EXPAND THE SUPPORT FOR
MUSIC-BASED INTERVENTIONS
RECOGNIZING THE THERAPEUTIC
POTENTIAL AND RESEARCH
INITIATIVES AS THE ONES WE HAVE
HERE EXPLORE THE APPLICATIONS OF
MUSIC THERAPY AND HEALTH CARE
SETTINGS PARTICULARLY FOR
PATIENTS UNDERGOING MEDICAL
TREATMENTS AND INDIVIDUALS WITH
NEUROLOGICAL DISORDERS AND THOSE
FACING CHALLENGES.
THE ADVENT OF ADVANCED
TECHNOLOGY FACILITATED A DEEPER
UNDERSTANDING OF THE NEURAL
MECHANISMS WITH PERCEPTION AND
NIH STUDIES HAVE DELVED IN THE
ASPECTS OF MUSIC EXAMINING HOW
MUSICAL ACTIVITIES IMPACT BRAIN
STRUCTURE AND CONNECTIVITY AND
FUNCTION AND NIH SUPPORTED MUSIC
RESEARCH SPANS A BROAD SPECTRUM
ENCOMPASSING INVESTIGATIONS INTO
THE USE OF MUSIC FOR PAIN
MANAGEMENT, COGNITIVE
REHABILITATION AND EMOTIONAL
WELL BEING.
THE EMPHASIS ON
INTERDISCIPLINARY COLLABORATION
IS EVIDENT.
WITH PROJECTS INVOLVING
RESEARCHERS FROM FIELDS SUCH AS
NEUROSCIENCE, PSYCHOLOGY,
MEDICINE AND MUSICOLOGY AND NIH
CONTINUES TO RESEARCH, MUSIC
BASED STUDIES PROMISES AN
UNVEILING OF NEW INSIGHTS
INVOLVING WHEN I CLINICAL
PRACTICE AND PUBLIC COMMENT
INITIATIVES.
WHEN I THOUGHT ABOUT THE WAVE I
THOUGHT ABOUT A MUSIC THERAPIST,
SCHOLAR, EDUCATOR WHO HAD BEEN
DOING DECADES OF WORK OF TRYING
TO DEFINE MUSIC THERAPY.
SO FOR THE PAST 30 OR 40 YEARS
WE'VE SEEN A NEW ADDITIONAL
ALMOST EVERY DECADE THAT
ATTEMPTS TO DEFINE WHAT IS THE
POWER AND SCOPE OF MUSIC
THERAPIES.
IN HIS CONCLUSION HE DREW ON THE
POSSIBILITIES OF MULTIPLE WAVES
INFORMED BY THE SOCIAL CONTEXT
AND PSYCHOLOGICAL TROPES AND
MECHANISMS GUIDING OUR PRACTICE.
WAVE ONE WHICH WE MAY BE ABLE TO
SEE FROM THE CONTEXT OF
MUSIC-BASED RESEARCH HAS
DIFFERENT WAYS FOR US TO
UNDERSTAND THE WORK AT PLAY.
WAVE ONE INFLUENCE OF MUSIC AND
PHYSICAL WORLD.
WE SEE MUSIC AS STIMULI IN
ALIGNMENT WITH BEHAVIORAL
PERSPECTIVES AND LOOK AT MUSIC
AND APPLICATION IN SPECIFIC
PROTOCOLS.
WAVE 2, THE UNCONSCIOUS
DIMENSIONS OF MUSIC EXPERIENCE.
THINKING THE WAYS IN WHICH
PSYCHO ANALYTIC AND DYNAMIC
THEORIES INFORM THE WAY IN WHICH
WE UNDERSTAND METAPHOR AND
SYMBOL IN THE WORK WE DO.
WAVE 3, THE ROLE OF MUSIC AND
SELF-ACTUALIZATION LOOKS AT THE
PEAK TO HUMANISM AND CARL
RODGERS DIFFERENT
PERSON-CENTERED PRACTITIONERS
THAT INFORM OUR VIEWS OF HOW A
PERSON ENGAGING AND HAS AGENCY
WITHIN WORK.
AND SPIRITUAL DEVELOPMENT.
WAVE 5, THE ROLE OF MUSIC AS A
CONTEXT DRIVEN WORK THAT SHAPE
THE WORK AND PREDISPOSES THE WAY
IN WHICH WE TACH OUR MEANING TO
IT AND I WOULD ADD WE'RE
EXPERIENCING A SIXTH WAVE THAT
LOOKS AT THE POLITICAL NATURE
AND THE WAY OUR WORK EXISTS ON
HELP AND HARM THAT DEPOLITICIZE
MUSIC AND CIRCUMVENTS ISSUES OF
POWER AND OPPRESSION AND
DIMINISHES JUSTICE ORIENTATED
FRAMES AND ACT AS AGENTS OF
UNLIVED EXPERIENCES CONFORMING
THEIR AESTHETIC BEING, CULTURAL
MEMORY, THEIR MUSIC IN PRACTICES
AND LANGUAGE AND COMMUNICATION
STYLES AND COPING MECHANISM,
CULTURAL EXISTENCE TO NORMS.
RESIST THE EFFORTS OF
MINORITIZED CLIENTS TO HOLD
POWER AND PERSONAL AGENCY TO
EMPOWER THEMSELVES OR BE
EMPOWERED THROUGH THE
COMMUNITIES AND EXAMINING SOCIAL
POSITIONALITY AND HOW THAT
INFORMS THE WORK ON THE GROUND
AND IS THE RESEARCH THAT TAKES
PLACE AROUND IT.
AT THE CENTER OF THAT THINKING
ABOUT HOW THE POLITICS OF MUSIC
AND MUSIC AND HEALTH MAY
SUPPRESS THE LIBERATION OF MUSIC
AND THE GOALS THAT EXIST THERE.
AS I THINK ABOUT THIS WAVE AND
HOW THEY'RE ALL INFORMING WORK I
THINK IT'S IMPORTANT TO GROUND
OURSELVES AS WE THINK WHAT IS TO
COME WITHIN THE NEXT SESSION THE
PANELISTS AND SPEAKERS THAT
PRESENT WILL GROUND IN NEW
CONTEXT AND IT MAY BE BLURRY SO
I'LL GO THROUGH THEM.
AT THE CENTER EACH ONE OF US NOT
ONLY AS CLIENTS EXPLORE THIS
AESTHETIC WAY OF BEING WITHIN
MUSIC THERAPY AND MUSIC-BASED
WORK.
AND THERE'S AN EMBODIED WAY OF
BEING WITH THE WORLD INFLUENCE
OUR SYSTEMS AND POLICIES AND
PRACTICES.
THE DIFFERENT SITUATED
HISTORIES, OUR PERSONAL STORIES
AND NARRATIVES.
THE CULTURAL LIFE WORLDS.
THE PAST, PRESENT, IMAGINATIVE
FUTURE AND AESTHETIC MEANING
MAKE TO THE WORLD WE ENGAGE
WITH.
AND IMPACTED BY OUR USE OF
LANGUAGE AND SYMBOLS AND
MOVEMENT AND HOW THAT INFORMS
THE WAYS IN WHICH RELATE.
ALSO INFORMED BY CONTEXT.
CONTEXT OF THE PARTICULAR
SITUATION WHERE SOMEONE ENGAGES
IN A MUSICAL ACTIVITY AND BUILT
BY OUR DESIRE AND AGENCY.
AROUND THE CENTER OR PERIMETER
OF THIS AESTHETIC WAY OF BEING
OF ENGAGING WITH MUSIC-BASED
WORK WE'RE THINKING HOW
MUSIC-BASED EXPERIENCE IS AT THE
CENTER AND GOES TO KEY
DIMENSIONS OF THE WORK.
WE HAVE THE CLINICIAN OR
THERAPEUTIC RELATIONSHIP THE
ENGAGEMENT AND INTERACTION.
ALSO THE PARTICIPANTS INTERNAL
AND EXTERNAL RESOURCES WHETHER
THAT BE SOURCES OF STRENGTH OR
COMMUNAL PROCESSES AND PRACTICES
THAT ARE INFORMING THEIR WORK.
ALSO THE RESEARCHER OR
PARTICIPANTS OR THE
PRACTITIONERS AND PERSON
ORIENTED AND SKILL.
ALL THESE THINGS ARE INFORMING
HOW WE CAN WORK TOGETHER AND
MOVE TOGETHER THROUGH SPACES AND
IF DONE WELL HOPEFULLY WE HAVE
CULTURALLY SUSTAINING PRACTICE
THAT GUIDES OR SUPPORTS THE
CLIENT, THE PATIENT, THE
PARTICIPANT TO BE ABLE TO
TRANSFER THIS IN THE CONTEXT OF
WHICH THEY LIVE.
ADDS WE THINK OF THESE
INTERACTING TOGETHER AND WILL BE
AMPLIFIED WITH EACH PRESENTATION
TO COME I WANT US TO THINK HOW
THEY'RE TELLING A SINGULAR
STORY.
THIS INTEGRATED OR EMERGENT AND
INTEGRATED WAY OF APPROACHING
RESEARCH FROM AN AESTHETIC
PRACTICE.
IT HONORS THE ARTISTIC
REFLECTION OF AN EXPERIENCE
WHERE ARTIST AND PRACTITIONER IS
ABLE TO THINK ABOUT THE USE OF
THE WORK AND THE DIMENSIONS OF
THE WORK ARE INFLUENCED BY THEIR
OWN MUSICAL STYLES AND
PREFERENCES AND AS AN IMPERATIVE
AND IT'S MULTIDIMENSIONAL AND AS
WE TALK ABOUT WHAT HAPPENS
WITHIN A THERAPEUTIC CONTEXT OR
ONE ROOM WE KNOW THAT DOESN'T
DISMISS THE THINGS THAT HAPPEN
IN A BROADER SOCIETY AND RELATED
TO THE GLOBAL EXPERIENCE OF
POLITICS, POWER, JOY, RESILIENCY
AND SUPPORT WE SEE IN THE WORLD.
AND WE'RE THINKING HOW OR WORK
IS THEORETICALLY ENGAGED.
HOW EACH WORK OR EACH
PRESENTATION HAS DIFFERENT UNDER
PINNINGS THAT MAY AMPLIFY THAT
THINKS HOW IT EXISTS FOR
RESEARCHERS AND SCHOLARS IT HAS
BEEN AND CONTINUES TO BE A
NEEDED AREA TO EXPLORE
THROUGHOUT OUR WORK.
AS WE BEGIN TO NAVIGATE THESE
AREAS I'D LIKE US TO HOLD THESE
THINGS AS WE MOVE THROUGHOUT THE
SESSION.
THANK YOU.
>> GOOD AFTERNOON.
I'M PLEASED TO SHARE OUR WORK
TITLED E HEALTH MINDFULNESS
BASED MUSIC THERAPY FOR
INTERVENTION FORRALO -- ALOE
GENEIC STEM CELL TRANSPLANT.
THE AUTHORIZES HAVE NO CONFLICT
OF INTEREST TO REPORT.
MINDFULNESS IS THE PRACTICE OF
PAYING ATTENTION TO THE PRESENT
MOMENT.
AND BRING ATTENTION BACK TO THE
BREATH AS A STIMULUS AND SOUNDS
AND MUSIC CAN SERVE AS A
STIMULUS AND THAT STIMULUS IS
WHAT THIS PROJECT IS BUILT UPON.
MUSIC IS A PARTICULARLY SALIENT
AS TEMPORAL WITH SOUNDS HAVING
BEGINS, DURATIONS AND DECAYS.
A STEM CELL TRANSPLANT IS A
HIGHLY CHALLENGING CANCER
TREATMENT THAT INCLUDES HIGH
DOSE CHEMOTHERAPY AND/OR
RADIATION AND CAUSES
PSYCHOSOCIAL SYMPTOMS, PAIN,
FATIGUE, DISTRESS IN THE PERI
TRANSPLANT PERIOD AND CAN
PERSIST FOR YEARS POST
TRANSPLANT IMPACTING THE PATIENT
QUALITY OF LIFE AND FUNCTIONING.
THE DEVELOPMENT OF INTEGRATIVE
MEDICINE INTERVENTIONS SUCH AS
MBMT HAVE THE POTENTIAL TO
REDUCE SYMPTOMS AND IMPROVE LIFE
AND AMELIORATE DISEASE IN THIS
POPULATION.
IT COMBINES ELEMENTS OF MUSIC
THERAPY AND MUSIC ENGAGEMENT AND
MUSIC ASSISTED RELAXATION WITH
MINDFULNESS SUCH AS AWARENESS
AND ATTENTION REGULATION.
MY PRIOR WORK WITH MBMT EXAMINED
THE IMPACT OF THE PROGRAM WITH
WOMEN WITH BREAST CANCER AND
DECREASES IN SYMPTOM DISTRESS
AMONG OTHERS.
IN ADDITION TO MY PREVIOUS WORK
STUDIES EXAMINING THIS
INTERVENTION WITH YOUNG ADULTS
WITH CANCER FOUND DECREASES IN
DEPRESSION AND ANXIETY.
THIS WORK HAS BEEN DOCUMENTED AS
WELL AS STUDIES OF
MINDFULNESS FOR RESEARCH FROM
OUR TEAM AND WHAT IS NOT YET
DOCUMENTED IS E HEALTH MBMT
INTERVENTION TAILORED TO ALLOSET
PATIENT NEEDS ARE TO CONDUCT
FOCUS GROUPS FOR THE USABILITY
AND FIELD TESTING TO FACILITATE
THE E HEALTH INTERFACE, CONDUCT
A PILOT RCT OF 50 PATIENTS TO
IDENTIFY THE PROGRAM COMPONENTS
SUCH AS MUSIC LISTENING AND
ENGAGE
THE THAT IMPACT HEALTH RELATED
QUALITY OF LIFE, SYMPTOM BURDEN
AND DISEASE ACTIVITY.
EVALUATE THE EXTENT IN WHICH
IMPROVEMENTS ARE MEDIATED IN
ADAPTATION.
IN AIMS 4 AND 5 WE CONDUCT A
LARGER FULLY POWERED RCT WITH
150 PARTICIPANTS TO EXAMINE THE
PRELIMINARY EFFICACY OF THE
EMBMT VERSUS COMPARISON
CONDITION MINDFUL MEDITATION
ALONE AND IMPROVING
HEALTH-RELATED QUALITY OF LIFE,
SYMPTOM BURDEN AND DISEASE
ACTIVITY AND PSYCHOSOCIAL, FOR
EXAMPLE, DEPRESSION, ANXIETY AND
PHYSIOLOGICAL ADAPTATION SUCH AS
MEASURES OF INFLAMMATION
ASSOCIATED WITH SYMPTOM BURDEN
AND RECONSTRUCTION CRUCIAL FOR
THE PATIENT POPULATION GIVEN THE
TREATMENT THEY RECEIVE.
I'LL BE DISCUSSING AIMS 1
THROUGH 3 TODAY.
WE'VE COMPLETED AIM 1 AND
QUALITATIVE FEEDBACK FROM FOCUS
GROUPS ON EXPERIENCES WITH LOSET
AND CONDUCTED USE AND FIELD
TESTING TO EVALUATE THE
ATTRIBUTES OF SYSTEM USABILITY
INCLUDING LEARNABILITY,
EFFECTIVENESS, EFFICIENCY,
MEMORY AND SATISFACTION AND
ASSESS TECHNICAL AND FUNCTIONAL
ABILITY.
BASED ON THE ANALYSIS WE
REFINALIZED THE INTERFACE FOR
THE PROGRAM AND THE COMPARISON
CONDITION.
THE FOCUS GROUP RESPONSES USING
A STRUCTURED INTERVIEW WERE FROM
11 PATIENTS WITH LOSET AND 50%
FEMALE AND MOSTLY WHITE AND 72%
HISPANIC.
THEY EXTREMELY VALUABLE.
THE PARTICIPANTS SHARED THE MANY
CHALLENGES IN THEIR TREATMENT
JOURNEY.
WE IDENTIFIED FIVE THEMES.
THEY SHARED THE INITIAL SHOCK OF
THE CANCER DIAGNOSIS AND
DISTRESS OVER UNFAVORABLE
OUTCOME.
PARTICIPANTS VOICE THE
CHALLENGES ASSOCIATED WITH
HOSPITALIZATION, LOSS OF
NORMALCY AND ADJUSTMENT TO LIFE
AFTER TREATMENT.
THEY REPORTED NEEDING COPING
STRATEGIES FOR LIVING WITH
HEMATOLOGIC CANCER AND OPEN TO
USING MINDFULNESS AND MUSIC
THERAPY TO COPING WITH CANCER
AND THE FIFTH THEME WAS SPECIFIC
TO THE MTMB PROGRAM.
100% OF TASKS WERE COMPLETED
WITH HIGH USER SATISFACTION AND
FOUND AREAS NEEDING TO BE
MODIFIED.
THEY SUGGESTED EARLY SESSIONS IN
THE EARLY POST-TRANSPLANT PERIOD
AS THEY FELT WIPED OUT FROM TIME
OF ENGRAFTMENT TO DISCHARGE AND
WANT REDUCED TEXT AND MORE
OPTIONS FOR PREFERRED MUSIC AND
INCLUDE PATIENT REPRESENTATION.
THEY SHOULD PICTURES SHOULD
REFLECT CANCER PATIENTS AND NOT
WELL ADULTS.
BASED ON OUR FINDINGS FROM OUR
QUALITATIVE DATA, WE MADE THE
FOLLOWING MODIFICATIONS.
WE REVISED THE TIMING OF THE
SESSIONS BASED ON THE PATIENT'S
TREATMENT TRAJECTORY.
WE IMPLEMENTED MORE AUDIO AND
VIDEO CLIPS TO REDUCE TEXT.
MORE RELATABLE CONTENT WAS ADDED
SUCH AS THE OBJECTIVES AN
BENEFITS OF EACH SESSION AND
REDUCED TECHNICAL LANGUAGE.
WE CONNECTED MINDFULNESS
ALTITUDES TO THE PATIENT'S
EXPERIENCE AND AFTER ENGRAFTMENT
PATIENTS HAVE LITTLE ENERGY AND
PASSIVE MUSIC EMPHASIZED
RELAXATION AND INCORPORATED
MUSIC PREFERENCES AND
IMPLEMENTED PICTURES OF CANCER
PARTICIPANTS AND HIRED A
BILINGUAL MUSIC THERAPIST.
WE CAPITAL ED -- CAPITALIZED
AN EXISTING PLATFORM AND HERE'S
SCREEN SHOTS OF THE PLATFORM
CALLED SMART MANAGE.
IT'S MUSIC THERAPISTS WITH THE
PLATFORM EMPHASISING ATTITUDES
SUCH AS NON-JUDGING, LETTING,
GO, ETCETERA.
AND PARTICIPANTS CAN GO INTO
LISTEN TO MUSIC RECORDINGS, READ
TEXT, AUDIO AND TYPE IN
RESPONSES FOR DAILY PRACTICE.
AS AN EXAMPLE OF THE CONTENT
WITHIN THE NON-JUDGING ATTITUDE
THE SESSION BRINGS AN AWARENESS
TO ONE'S SPOT WITHOUT JUDGING OR
REACTING TO THE THOUGHTS AS
HABITUAL REACTION CAN LEAD TO
STRESS.
IN THE SESSION, PARTICIPANTS
LISTENED TO CONTRASTING PIECES
OF MUSIC AND DISCUSSION WITH THE
MUSIC THERAPIST THEIR INITIAL
RESPONSES, GOOD, BAD, LIKE,
DISLIKE AND WHAT THEY HEARD
GUITAR DYNAMIC AND PERHAPS A
MEMORY, BODY RESPONSE OR
JUDGMENT ABOUT THEMSELVES.
THE PRACTICE OF AWARENESS IN THE
MUSIC AND SELF ARE TRANSFERRED
TO SITUATIONS OUTSIDE THE
SESSION THEY EXPERIENCE AS
PLEASANT OR UNPLEASANT.
AND THEY BECOME HOME WORK FOR
THE WEEK.
THE AIM OF THE SESSION IS TO
BECOME AN OBJECTIVE BYSTANDER TO
ONE'S THOUGHTS.
THE HOME WORK IS TO PRACTICE THE
AWARENESS IN THE MUSIC AND
AWARENESS OF THEIR JUDGING
DURING THE WEEK AND SHARE IT
WITH THE MUSIC THERAPIST IN THE
NEXT SESSION.
THERE WAS GUIDED MUSIC LISTENING
AND MUSIC-ASSISTED RELAXATION
AND VOCAL IMPROVISATION AND
WE'RE TRANSITIONING TO THE R61.
WE HYPOTHESIZE THE MBMT AND MM
CONDITION WILL BE FEASIBLE AND
ACCEPTABLE FOR PATIENTS
UNDERGOING L ALLO-SCT AND WILL
SHOW MORE ROBUST MEASURES FROM
BASELINE TO DISCHARGE AND POST
ENGRAFTMENT AND EXPECT THE
RELATED IMPROVEMENTS AND QUALITY
OF LIFE AND SYMPTOM BURDEN AND
DISEASE ACTIVITY WILL BE
MEDIATED BY IMPROVEMENTS IN THE
PSYCHOSOCIAL AND PHYSICAL
ADAPTATION.
STUDY INCLUSION CRITERIA INCLUDE
ADULTS WITH A SCHEDULED ALLO-SCT
AND FLUENT IN ENGLISH OR
SPANISH.
OUR FUTURE DIRECTION IS BUILD ON
AN INFORMED PHASE TO CONDUCT A
FULLY POWERED RCT FOR THE R33
PHASE.
THERE MAY BE MODIFICATIONS BASED
ON THE INITIAL R61 PHASE.
WE'LL ALSO EXAMINE WHETHER
PSYCHOSOCIAL AND PHYSIOLOGICAL
MECHANISMS MEDIATE THE AFFECT OF
THE MBMT COMPONENTS ON THE
HEALTH-RELATED QUALITY OF LIFE,
SYMPTOM BURDEN AND DISEASE.
THIS SLIDE SHOWS A STUDY
MEASURES OF THE LARGER RCT.
IN ADDITION TO OUR P.I., WE HAVE
A MULTI-DISCIPLINARY TEAM THAT
INCLUDES ONCOLOGISTS,
PSYCHOLOGISTS, MUSIC THERAPISTS,
STATISTI
STATISTICIANS.
THANK YOU.
>> HI.
GOOD AFTERNOON.
THANK YOU SO MUCH TO THE NIH FOR
SUPPORTING THE AFOREMENTIONED
RESEARCH.
THE RESEARCH WE EMBARKED UPON IS
TRULY INTEGRATIVE IN WORKING
WITH COLLEAGUES WE'VE BEEN
PUTTING TOGETHER THIS PROJECT
FOR TWO YEARS.
I THINK IT'S IMPORTANT WHEN WE
TALK ABOUT INTEGRATION TO WORK
WITH A TEAM BEFORE I START YOUR
RESEARCH.
SO I'M PROUD TO TALK ABOUT THIS
TODAY.
THAT BEGAN YOU CAN I MOVED TO
PENN STATION IN NEW YORK CITY
AND ON THE TV WHICH WAS WORKING
THEY TALKED ABOUT PREGNANT BLACK
WOMEN DO YOU KNOW MORE THAN HALF
OF BLACK PREGNANT WOMEN DON'T
MAKE IT TO TERM WITH THEIR
BABIES?
MEANING, THEY DON'T HAVE THE
DREAM THEY VISUALIZED.
WHY IN IT'S NOT JUST BECAUSE
THEY'RE MISSING MUSIC.
YOU CAN MAKE A CASE FOR THAT IN
ANOTHER CONFERENCE BUT
TRADITIONS OF BLACK MUSIC AS WE
HEARD TODAY, HOW COME THESE
WOMEN CAN'T HAVE THEIR DREAM?
AS THE CHRONIC STRESS.
READ THE LITERATURE AND READ HOW
WOMEN COULD BE TREATED IN THEIR
HEALTH SYSTEM AND I'M GOING TO
HELP US LOOK AT SOME OF THE
RESEARCH IN TERMS OF SOMETHING
NEW AND EXCITING CALLED
METABOLOMICS.
WE'LL STUDY TOGETHER METABOLOMIC
PATHWAYS UNDERSTANDING CHRONIC
STRESS IN BLACK PREGNANT WOMEN.
IT PLAYS A ROLE AND CROSS
CULTURES.
THE QUESTION IS THERE IS AN
ASSOCIATION BETWEEN CHRONIC
STRESS AND THE CAPACITY FOR
BLACK PREGNANT WOMEN TO GET TO
TERM AS LOUIS ARMSTRONG IS MY
BOSS FOR 30 YEARS I FEEL BLESSED
FOR DOING THIS RESEARCH BUT I
CAN'T DO IT BY MYSELF.
SO THERE'S GOOD QUESTIONS
BECAUSE OUR TEAM THAT
SPECIALIZES IN METABOLICS AT
EMORY AND DR. CORBETT AND MYSELF
ARE DIGGING INTO PAST RESEARCH
ON METABOLOMICS.
IT'S SEXY.
IT'S PRECISION MEDICINE.
WHAT IS METABOLOMICS?
THE STUDY OF CELLS AND BIO
FLUIDS AND STUDY OF TISSUES.
ALL THESE THINGS ARE INTEGRATED
IN HELPING US STUDY WHO DEVELOPS
DISEASE AND WHO DOES NOT.
WE'RE INDIVIDUALS.
EACH OF US RESPOND TO MEDICINE
DIFFERENTLY TO TIMING OF
INTERVENTIONS DIFFERENTLY.
FROM WHERE I STAND THIS IS ALL
MUSIC.
THE PROTEINS, ALL THIS
CONTRIBUTES TO HOW METABOLITES
ARE READ AND I'M EXCITED WE'RE
COMBINING THE LIVE MUSIC THERAPY
WITH THE MECHANISMS INVOLVED IN
READING METABOLITES.
THIS FIELD REVOLUTIONARY TO SOME
OF YOU.
THERE'S SO MANY SMART PEOPLE
HERE.
BUT UNDERSTANDING SCIENCE
COMBINED WITH THE ARTISTRY
EXPRESSED SO BEAUTIFULLY THIS
MORNING ESPECIALLY IN CULTURE,
HELPS US UNDERSTAND INDIVIDUALLY
AND SCIENTIFICALLY.
SO METABOLICS IS AN EMERGING
TECHNOLOGY AND TURNS OUT MORE
THAN 50,000 METABOLITES AND
THEY'RE SHOWING DIFFERENCES IN
HOW WE'RE PROJECTED TO DEVELOP
DISEASES AND HOW FURTHERMORE HOW
DISEASES INFLUENCE OUR FUNCTION.
I LIKE METABOLICS AS A MIDDLE
CHILD BECAUSE IT INVOLVES
INTEGRATION.
INTEGRATION OF THINGS LIKE
GENES, PROTEINS MICROBIOTICS.
ALL THE THINGS THAT HELP US ALL
AT ONCE IN THE SYSTEMS OF OUR
BODIES.
AND WHAT IS ASSOCIATED WITH
CHRONIC ARE PRONOUNCED AND
DEVELOPING THE PROPOSAL FOR THE
RO1, THANK YOU.
WE TOGETHER PUBLISHED AN ARTICLE
HOW WE WILL STUDY THIS.
WE KNOW WHAT INFLUENCES
PREGNANCY AND KNOW STRESSORS OF
THE ENVIRONMENT OF LIVING
SITUATION AND GENETICS AND
EPIGENETICS AND THE GENERAL
POPULATION IN GETTING TO TERM.
THIS HAS BEEN PROVEN BUT LET'S
GO FURTHER HOW MUSIC CAN
INFLUENCE THIS.
I'M EXCITED BY THIS PROJECT.
I'VE READ WORK AND THERE'S BLACK
MUSIC THERAPY NETWORK THAT
PUBLISHED INFLUENCE AND HISTORY
OF MUSIC IN BLACK PREGNANT
WOMEN.
WHY DON'T WE RESEARCH NUMBERS?
WHY CAN'T WE RESEARCH HISTORY OF
MUSIC?
I HAVE THE GOOD FORTUNE TO WORK
WITH THE CONCEPT OF SOCIAL
MUSIC.
THIS AFFECTS HOW WE RESEARCH.
WE'RE GOING TO DIG DEEP AND
DELVE INTO THE THINGS OF
STRUGGLES OF THE PAST AND HOW
THEY'RE EXPRESSED THROUGH MUSIC.
BUT WE HAVE SENT YOU THIS
CAREFULLY.
MUSIC THERAPISTS ARE TRAINED TO
LOOK AT THE HISTORY OF
INDIVIDU
INDIVIDUALS WE DEVELOPED
PROTOCOLS FOR SLEEP.
SLEEP INFLUENCES STRESS.
WE HAVE TO TAKE PERSONAL
HISTORIES OF THE INDIVIDUALS AND
WE PULLED TOGETHER FOCUS GROUPS
AND LOOK AT BLACK PREGNANT WOMEN
OF THE PAST, PRESENT AND NOW AND
WE QUESTIONED WHAT WERE THE
BIGGEST STRUGGLED YOU WENT
THROUGH?
WHAT ARE THE SIGNIFICANT THEMES
AND THAT'S OUR FOCUS GROUP
LEADER.
THESE A MUSIC THERAPIST AND
SHE'S DONE LOTS OF FOCUS GROUPS.
WE ARE LOOKING AT ALL THE
RECORDINGS AND ANALYZING HOW DO
WE GET OUR SUBJECTS?
I HAVEN'T STUDIED ADVERTISING
BUT HAVING DONE A DECADE OF
RESEARCH I WANTED TO SHOW YOU
THAT OUR SURVEY OF A NAME FOR
OUR FOCUS GROUP AND BROCHURE
TURNED OUT TO BE AH MAMA -- M
MOMMA AND WE FEEL IT THE DRAW
BLACK PREGNANT WOMEN TO US AND
WHY?
WE RESEARCHED THEM.
WE NEED TO BRING CULTURE INTO
OUR RESEARCH AND NEED TO HEAR
MORE ABOUT THE CULTURE AND
HISTORY OF THE MUSIC I LIKE THAT
YOU CALL MUSIC SHE.
HOW INTERESTING.
I DID IT TODAY BUT I STILL LIKE
YOU CALLED IT SHE.
A GOOD BROCHURE GETS US SUBS OF
ALL PLACES, THE MORE PLACES THE
BROCHURES ARE PLACED THE MORE
INCLUSION.
WE HEARD LITTLE ABOUT THE MUSIC
INGREDIENTS AND START INTO
IDENTIFYING SOME THAT ARE
DIFFERENT, THANK YOU, AND
PATIENT PREFERRED MUSIC AND ANY
PERSON CAN PLAY.
THIS IS FOR THAT.
YOU SEE HISTORY, SLEEP AND ED TO
BLACK WOMEN'S PREGNANCY.
THANK YOU SO MUCH FOR ARE
LETTING ME SPEAK ABOUT THIS
RESEARCH
>> I'M GOING TO TALK TO YOU
ABOUT WALKING AMONG PEOPLE WITH
PARKINSON'S DISEASE AND USUALLY
THE EDGE OF PHYSICAL ACTIVITY
FOR PEOPLE WITH PARKINSON'S AND
THEY WERE ASKED WHICH ONES THEY
HAD TROUBLE WITH AND THE THINGS
THEY HAD THE MOST DIFFICULTY
WITH EARLY IN THE DISEASE WAS
WALKING.
THIS IS AN ISSUE BECAUSE WALKING
PROBLEMS AS WELL AS BALANCE
PROBLEMS CAN CONTRIBUTE TO FALLS
WHICH HAVE A NUMBER OF NEGATIVE
CONSEQUENCES CREATING THE
VICIOUS CYCLE WHICH LEADS TO
REDUCED QUALITY OF LIFE FOR
FOLKS AS WELL AS INCREASED RISK
OF MORTALITY.
AND WHEN WE ASKED PEOPLE WITH
PARKINSON'S WHAT THEY HOPE WILL
IMPROVE WITH TREATMENT, WALKING
COMES OUT ON TOP.
THIS IS WHY WE THINK IT'S AN
IMPORTANT ISSUE FOR US TO FOCUS
ON WITH OUR RESEARCH.
WHAT IS CHANGING IN THE WALKING
PATTERNS OF PEOPLE WITH
PARKINSON'S DISEASE.
SOME CHANGES ARE ILLUSTRATED
HERE IF YOU COMPARE THE FOOT
PRINTS ACROSS THE TOP FOR A
PERSON WITHOUT PARKINSON'S
DISEASE AND THOSE ON THE BOTTOM
OF A PERSON LIVING WITH
PARKINSON'S DISEASE.
THE PERSON WITH PARKINSON'S
DISEASE REQUIRE MORE STEPS TO
TRAVERSE THE DISTANCE AND
THEY'RE STEPS ARE SMALLER AND
LESS VARIABILITY AND LESS
CONSISTENCY FROM ONE STEP TO THE
NEXT AND THAT HAS BEEN LINKED TO
INCREASED RISK FOR THE FALLS
MENTIONED EARLIER.
WE'VE KNOWN SYNCHRONIZING FOOT
FALLS TO MUSIC HAS BEEN USED
THERAPEUTICALLY FOR SOME TIME
AND MAKES SENSE BECAUSE WE CAN
SYNCHRONIZE OUR MOVEMENTS TO
EXTERNAL AREAS OF MUSIC AND
AREAS OF THE BRAIN ARE LINKED
AND LISTENING TO MUSIC WITHOUT
MOVING AFFECTS AREAS OF THE
BRAIN RESPONSIBLE FOR MOVEMENT
CONTROL.
IT'S NOT PERFECT.
IT ONLY WORKS WHILE THE MUSIC IS
PLAYING AND REQUIRES SOMEONE TO
HAVE A DEVICE TO DELIVER THAT
MUSIC THEM.
IT DOESN'T ADAPT TO NEEDS IN THE
MOVEMENT.
IMAGINE IF YOU'RE USING A SONG
PLAYING AND YOU SUDDENLY CROSS
THE STREET.
IT WOULD BE NICE TO UP THE TEMPO
TO BEAT THE MUSIC BUT IT'S
SOMETIMES FIXED.
WE NEED THERAPIES MORE
ACCESSIBLE AND MORE ADAPTABLE IN
THE MOMENT AND LESS EXPENSIVE.
WE ASKED WHAT ABOUT SINGING AND
IN PERSONAL RHYTHM IN ADDITION
OR IN PLACE OF THE EXTERNAL
RHYTHM.
THIS MADE SENSE FOR A NUMBER OF
REASONS.
AMONG THE MOST INTERESTING IS
THE FACT ALL THE FEATURES ARE
IMPACTED BY THE PARKINSON'S
DISEASE PROCESS SINGING IS OFTEN
PRESERVED.
THEY ASKED PEOPLE TO LISTEN TO
RECORDINGS OF FOLKS SPEAKING OR
SINGING.
SOME PEOPLE HAD PARKINSON'S,
OTHERS DID NOT.
THOSE LISTENING TO THE
RECORDINGS WERE GOOD AT FIGURING
OUT WHO HAD PARKINSON'S WHEN
THEY WERE LISTENING TO SPOKEN
WORD BUT COULD NOT DISTINGUISH
BETWEEN PEOPLE SINGING.
AND AS WE LAUNCHED IN THE WORK
WE DISCOVERED MANY PEOPLE
FIGURED THIS OUT FOR THEMSELVES
ALREADY AND OFF THE -- OFTEN
WE'RE LINKED AND WE FACILITATE
MOVEMENT BY SINGING.
OUR FIRST STUDIES WERE ASKING IS
THIS A GOOD IDEA TO ASK PEOPLE
TO THINK ABOUT SINGING WHILE
WALK.
PEOPLE WITH PARKINSON'S CAN
SOMETIMES WALK MORE POORLY AND
HAVE DIFFICULTY.
WE HAD FOUR CONDITIONS.
WE HAD THEM WALK TO MUSIC AND
HAD THEM WALK WHILE SINGING A
SONG ALOUD AND A DUAL-TASK
CONDITION AND WALK AS NAME AS IN
WORDS THAT BEGAN WITH A
PARTICULAR LETTER.
ON THE TOP LEFT A PLOT OF
VELOCITY AND THERE WAS A DUAL
TASK CONDITION AND THE MUSIC
CONDITION AND PLUS SINGING
CONDITION AND THE SINGING
CONDITION WERE ALL FEASIBLE FOR
THESE FOLKS.
WITH SAW PEOPLE HAD THE LEAST
VARIABLE WALKING OR MOST
CONSISTENCY WHAT IS WHAT WE'RE
LOOKING FOR WHEN THEY WERE
SINGING THE SONG WITH MO MUSIC
PLAYING ACROSS TWO MEASURES OF
VARIABILITY.
RATHER THAN SINGING THE SONG
ALOUD YOU GENERATE IT IN YOUR
HEAD AND WE NOW INCLUDED PEOPLE
WITH AND WITHOUT PARKINSON'S
DISEASE SHOWN BY THE SOLID OR
DOTTED LINES AND LOOKED AT MUSIC
OR OMEN -- OR MENTAL SINGING
AND IT DIDN'T LOOK WHETHER THEY
HAD OR DID NOT HAVE PARKINSON'S
DISEASE.
INTERESTINGLY WHEN WE LOOKED AT
VARIABILITY WE STARTED TO SEE
DIFFERENCES ACROSS THE
CONDITIONS AGAIN AND WE SAW THAT
THE MENTAL SINGING CONDITION
COMPARED TO EITHER SINGING
ALLOWED OR WALKING TO THE BEAT
OF AN EXTERNAL MUSICAL SOURCE
WAS THE LEAST VARIABLE OR MOST
CONSISTENT.
THIS PUT US TOWARDS THIS MAY BE
A GOOD THINGS TO RECOMMEND AND
LED US TO SING FOR YOUR SAUNTER
BY AN R61 AND R33 AND THANK YOU
FOR THE OFFENDING OF THAT WHICH
ALLOWED US TO TAKE THE WORK TO
THE NEXT LEVEL.
THE WORK IS DONE BY A TEAM OF
PEOPLE AND YOU'LL SEE THE MAIN
PLAYERS AT THE TOP AND THE
POSTDOC AND THE MUSIC THERAPIST
AND MUSICAL THERAPIST.
SO FOR THIS PARTICULAR STUDY
WE'RE ASKING TWO MAIN QUESTIONS.
WHAT ARE THE NEURAL MECHANISMS,
WHAT'S GOING ON IN THE BRAIN
WHEN SOMEBODY IS MOVING TO MUSIC
FROM AN EXTERNAL SOURCE VERSUS
THEIR OWN MENTALLY SUNG SOURCE
AND CAN WE OPTIMIZE WALKING FOR
EACH PERSON LOOKING AT CHANGES
IN TEMPO AND THE ABILITY TO
CHOOSE DIFFERENT SONGS.
ALL THIS WORK USED ROW, ROW, ROW
YOUR BOAT AND WE WERE ALL SICK
OF HEARING THAT SONG.
THEY CAME INTO THE LAB FOR TWO
VISITS WE ASKED THEM TO WALK AND
TAP THEIR FINGERS FIRST WITH NO
CUES AND LOOK AT THE RATE AND
ASKED THEM TO WALK WITH MUSIC
PLAYING IN THE ROOM AND WITH A
SINGING CONDITION.
THEY CAME IN WHERE WE ASKED THEM
TO PERFORM MOVEMENTS TO MUSIC OR
MENTAL SINGING.
WHEN THEY'RE WALKING FIRST, HOW
FAST ARE THEY GOING AND ADJUST
THEM AND DECIDE AT WHICH TEMPO
TOOK THE LONGEST STEPS AND
CALLED THAT THE OPTIMIZED TEMPO
AND THEY COME BACK ON A SECOND
DAY AND DO THE TAPPING WITH
THEIR OPTIMIZED CUES IN THE
FMRI.
I'LL PLAY A CLIP AND JUST CLAP
TO THE BEAT AS THE MUSIC IS
PLAYING.
AND ASK YOU TO CLAP WITH THE
DIFFERENT RATE AS YOU SING
ALOUD.
>> FINAL IS MENTAL SINGING.
SING AND CLAP ALONG TO YOUR
MENTAL SONG.
>> VERY GOOD.
HAVE YOU A FEEL FOR THE TYPES OF
TASKS WE'RE ASKING PEOPLE TO DO.
I DO HAVE AN ULTERIOR MOTIVE.
I WANTED TO MAKE SURE PEOPLE
WOULD CLAP DURING MY
PRESENTATION SO THANK YOU FOR
THAT.
SO LET'S SEE THE RESULTS WE GOT.
WE SEE REGARDLESS OF WHETHER
WE'RE USING MUSIC OR MENTAL
SINGING OR REGARDLESS WHETHER
PEOPLE OR DO NOT HAVE
PARKINSON'S DISEASE SHOWED BY
THE BLACK OR RED GROUPS EVERYONE
CAN ADJUST BASED ON THE TEMPO
AND WALK MORE QUICKLY OR SLOWLY
AND TAKING A BIGGER OR SMALLER
STEPS.
WHEN WE LOOKED AT OPTIMIZED SONG
CHOICE ROW, ROW, ROW YOUR BOAT
IS AN OPTION AND YOU ARE MY
SUNSHINE IS COMING OUT ON TOP IN
THE CATALOG.
FOR MOST PEOPLE CUEING AT 120
STEPS PER MINUTE IS OPTIMAL AND
MEDIAN IS 135 BEATS PER MINUTE
AS AN IDEAL CUE.
FOR VELOCITY AND CADENCE WE HAVE
INCREASES IN IN THE MUSIC OR
MENTAL SINGING CONDITION.
DOESN'T MATTER.
THEY CAN GO FASTER WITH BIGGER
STEPS AND MORE STEPS PER MINUTE
REGARDLESS OF WHETHER IT'S MUSIC
OR MENTAL SINGING AND WE SEE
MEASURES OF VARIABILITY AND
LOOKS LIKE WHEN THEY'RE SINGING
THEIR AND MORE CONSISTENT THAN
SINGING IN THE MENTAL CONDITION
AND HOT OFF THE PRESS DATA FROM
THE BRAIN.
WHEN THEY'RE TAPPING AND
MENTALLY SINGING COMPARED TO
TAPPING WITH NO MUSIC OR NO
MENTAL SINGING THERE'S INCREASED
ACTIVITY IN THE PART OF THE
BASAL GANGLIA IMPACTED BY
PARKINSON'S DISEASE AND THE
AUDITORY CORTEX IS MORE ACTIVE
AND WHEN TAPPING TO MENTAL
SINGING COMPARED TO TAPPING TO
MUSIC WE SEE MORE ACTIVITY IN
THE REGION OF THE CEREBELLUM
CONTRARY TO OUR ORIGINAL
HYPOTHESIS AND WE'RE TRYING TO
FIGURE OUT AND EXCITED TO LAUNCH
IN JANUARY TO THE R33 AND WE'LL
BE TRAINING WE'RE LOOKING
FORWARD TO RINGING IN THE NEW
YEAR TO START SINGING IN THE NEW
YEAR.
>> GOOD AFTERNOON.
MY NAME IS CARLENE BROWN A
PROFESSOR OF MUSIC AND DIRECTOR
OF THE MUSIC THERAPY PROGRAM AT
SEATTLE MUSIC THERAPY AND A
BOARD CERTIFIED MUSIC THERAPIST.
IN THIS BRIEF TALK I'LL DESCRIBE
THE DESIGN OF A CURRENTLY
ONGOING R31 MUSIC AND
FEASIBILITY STUDY AND NOTE
FEEDBACK FROM PARTICIPANTS AND
OFFER INTRODUCTION TO THE
MUSICAL INSTRUMENT USED IN THE
STUDY.
I'D LIKE TO MAKE THIS PRESENCE
FROM THE VIEW POINT AS A MUSIC
THERAPIST.
THE BACKGROUND IS ACUTE AND
CHRONIC PAIN REMAIN CONCERNS AND
A GROWING BODY OF RESEARCH
INDICATES THAT LISTENING TO
CERTAIN SOUNDS INCLUDING
MONOCHROME BASED MUSIC CAN
REDUCE PAIN.
HOWEVER, LITTLE IS KNOWN ABOUT
THE MECHANISMS UNDERLYING THE
AFFECTS OF MUSIC ON PAIN.
THE STUDY WILL LOOK AT MUSIC
THERAPY AND MEDICINE ON AN
ELECTROENCEPHALO GRAM LOOKING AT
OSCILLATION POWER.
THE MUSIC THERAPY PROTOCOL
INCLUDES MY PRESENCE PLAYING THE
MUSICAL INSTRUMENT BODY TEMPOREA
AND THEY LISTEN TO MY READING OF
NARRATIVE TEXT.
PATIENTS LISTEN TO MUSIC OR THE
NAR JATED STORY FOR 15 MINUTES.
MEASURES OF DATA OSCILLATION
POWER ARE ASSESSED FIVE MINUTES
OF BASELINE AND DURING TREATMENT
AND FIVE MINUTES POST
INTERVENTION.
HOW DID THIS STUDY COME ABOUT?
THE R21 STUDY P.I. MET WITH A
COLLEAGUE AND LOOKED AT AN
INSTRUMENT POPULAR AND USED BY
MUSIC THERAPISTS IN EUROPE.
WHEN PLAYED LIVE THE MUSIC
PRODUCED BY THE BODY TAMBURA
REDUCED PAIN IN PALLIATIVE CARE
SETTINGS.
BASED ON PRIOR RESEARCH, ONE,
THE EFFECTS OF CHANGES IN EEG
ASSESSED ACTIVITIES OF PAIN AND
WE SEE AN INCREASE IN
INDIVIDUALS WHO REPORT DECREASES
IN PAIN AND WE SEE DATA POWER
WHEN PEOPLE HEAR MONOCHROME
SOUNDS AND AT THE BE EFFECTIVE
FOR REDUCING PAIN REDUCING
FRONTAL BETA POWER AND INITIATED
A RESEARCH PROGRAM TO TEST THIS
POSSIBILITY.
THE BODY TAMBURA IS AN
INSTRUMENT CREATED FOR THE FIELD
OF MUSIC THERAPY IN 2005.
IT'S MADE IN GERMANY AND
INSPIRED BY THE DESIGN OF THE
CLASSICAL INDIAN TAMBURA AND
DESIGN TO BE PLACED ON ONE'S
BODY BUT COULD BE ON A LAB,
TABLE OR FLOOR.
THE INSTRUMENT CONSISTS OF
LIGHTWEIGHT BODY EQUIPPED WITH A
CONTOURED BASE AND SOUNDING
BOARD FITTED WITH 28 STRINGDZ.
ZERO STRINGS.
ONE PLAYS THE STRINGS EVENLY
IT'S POSSIBLE TO VARY THE VOLUME
WITH TOUCH AND CREATES BEAUTIFUL
HARMONICS FOR THE LISTENER.
IN OUR STUDY I HAVE THE
INSTRUMENT ON MY LEFT AND FACING
THE PARTICIPANT WITH THE SOUND
FILLING THE ROOM.
TO LEAR WHAT THE INSTRUMENT
SOUNDS LIKE I'D LIKE TO PLAY A
30-SECOND EXERPT FROM OUR
RECORDING AND NOTE THAT THE
SOUND IN OUR STUDY IS MUCH MORE
INTIMATE IN A SMALLER SPACE.
IN ADDITION TO THE SELF-REPORT I
ASK EACH PARTICIPANT IF THEY'D
LIKE TO OFFER IMMEDIATE FEEDBACK
ABOUT THE EXPERIENCE DURING THE
SESSION.
I HEAR I HAVE USUALLY HAVE A
HARD TIME SLEEPING BUT I COULD
HARDLY STAY AWAKE.
I LIKED LISTENING TO IT.
IT WAS DIFFERENT.
I USUALLY LISTEN TO AMBIENT
MUSIC.
I WAS EXPECTING MORE FROM THE
INSTRUMENT HOWEVER, THIS
INDIVIDUAL WENT ON TO DISCUSS
THE MUSIC AT LENGTH AND AT THE
LEAST WAS DISTRACTING AND HAD
HIS ATTENTION.
I ALSO WANT TO NOTE WE ARE
RECEIVING MANY REQUESTS FOR
COPIES OF THE RECORDING FOR
PERSONAL USE AT HOME.
IF THEY'RE ANTICIPATED THEY'LL
INFORM A MORE RO1 STUDY WHERE
CHANGES IN OSCILLATION POWER
MEDIATE THE BENEFICIAL EFFECTS
OF MUSIC ON PAIN.
THE FUNDINGS WILL PROVIDE THE
MECHANISMS THAT UNDER LIE THE
EFFECT OF THERAPEUTIC MUSIC AND
PAIN AND TRANSFERRED TO CLINICAL
CARE THE KNOWLEDGE COULD HELP IN
PATIENT TREATMENT MATCHING
ENHANCING THE OVER ALL
EFFECTIVENESS FOR SOUND-BASED
INTERVENTIONS AND OTHER
NON-PHARMACOLOGIC TREATMENT MAY
OPERATE VIA AFFECTS OF BRAIN
ACTIVITY AS MEASURED BY EEG.
I'VE APPRECIATED BEING PART OF
THE RESEARCH TEAM.
FOR THE MUSIC MEDICINE SESSION
WE CHOSE THE SPEAKER CAREFULLY
FOR THE SIZE OF THE ROOM TO PLY
A RECORDING OF MY PLAYING THE
BODY TAMBURA.
FOR THE MUSIC THERAPY SESSION,
WHEN I ENTER THE ROOM I
INTRODUCE MYSELF AND THE
INSTRUMENT AND ASK THE
INDIVIDUAL IF THEY WOULD LIKE TO
TOUCH IT TO PLAY IT TO HEAR IT
SO AS TO NOT BE SURPRISED BY ITS
SOUND WHEN WE BEGIN.
I'M SEATED IN A CHAIR IN CLOSE
PROXIMITY TO THE INDIVIDUAL AND
HEAR THE TONE BUT NOT SO CLOSE
AS TO THREATEN THEIR SPATIAL
BOUNDARIES.
WE LOWER THE RIGHTS IN THE ROOM
WHEN THE MUSIC IS PLAYING.
I BEGIN PLAYING THE INSTRUMENT
QUIETLY TO FILL THE ROOM WITH
SOUND AND WATCH THE INDIVIDUAL'S
BODY LANGUAGE AND TAKE THIS INTO
ACCOUNT AS I PLAYED TO MAXIMIZE
THEIR POSITIVE RESPONSE.
SPECIFICALLY, TO HELP THEM RELAX
IF POSSIBLE OR MAKE THE SOUND TO
DRAW THEIR ATTENTIONS TO THE
SOUNDS AND PRESUMABLY AWAY FROM
AWARENESS OF UNPLEASANT
SENATIONS.
I'M FASCINATED OF WHAT TAKES
PLACE IN ONE'S BRAIN WHAT IS
TAKEN IN AND HOW POSITIVE
RESPONSE TO MUSIC COULD BE UNDER
ONE'S CONTROL AND REPLICATED
UPON DEMAND BY THE INDIVIDUAL
AND BY OTHERS AND I'M OF THE
LACK OF SCIENTIFIC KNOWLEDGE
ABOUT THE MUSIC USED IN RESEARCH
STUDIES.
THERE ARE VERY FEW WORDS TO
DESCRIBE THE MEDIUM.
WE STILL DO NOT HAVE A CLEAR
BASIS FOR CHOOSING THE MUSIC
WITH THE MOST FITS ON HEALTH.
DO WE USE A SOLO INSTRUMENT OR
ENSEMBLE OR WITH OR WITHOUT
LYRICS AND CHANGES IN TEMPO,
DYNAMICS, RHYTHM OR MELODY.
DO WE USE MUSIC THAT HAS MEANING
TO ELICIT AN AFFECTIVE RESPONSE?
DO WE USE LIVE OR RECORDED
MUSIC?
THESE ARE EXAMPLES OF FACTORS
INVOLVED IN CHOOSING MUSIC TO
MAKE A DIFFERENCE IN HOW AN
INDIVIDUAL CAN BE AFFECTED BY
THE SOUNDS THEY ARE HEARING.
REPORTING DETAILS ON THE MUSIC
IN PUBLISHED REPORTS CAN ALLOW
OTHERS TO REFINE OUR EFFORTS IN
UNDERSTANDING THE DYNAMICS OF
MUSIC ON HUMAN RESPONSE.
IT WOULD BE INEFFICIENT FOR OUR
TEAM TO REPORT, FOR EXAMPLE,
MUSIC WAS SHOWN TO HAVE A
POSITIVE INFLUENCE ON PAIN
MANAGEMENT IN THIS CONTEXT AND
THEN MOVE ON TO THE DETAILS OF
THE DATA.
AS A MUSICAL THERAPIST AND LIFE
LONG PHYSICIAN I EXPERIENCED THE
CHANGES IN STATE OF BEING BY
SIMPLY OR ENGAGING WITH MUSIC.
WE STILL HAVE A LOT TO LEARN AND
GOOD REASONS TO DO SO.
THE FINAL SLIDE ACKNOWLEDGE THE
FUNDING FOR THE PROJECT AND TEAM
FOR THE NATIONAL CENTER FOR
COMPLEMENTARY AND WHY IT GRATIVE
MEDICINE.
THANK YOU FOR YOUR ATTENTION.
>> SUCH WONDERFUL PRESENTATIONS.
I HOPE YOU'RE AS ENLIGHTED AS I
AM TO BE AT THE FOREFRONT OF
MUSIC RESEARCH.
WE'LL CONTINUE OUR CONVERSATION
REGARDING MUSIC THE RESEARCH IN
MUSIC THERAPY AND MEDICINE.
WE'LL FIRST HEAR FROM THE
PANELISTS MALLITA BELGRAVE FROM
ARIZONA STATE UNIVERSITY AND
CONNIE TOMAINO AND MICHAEL
STANLEY FROM BRIGHAM AND WOMEN'S
HOSPITAL.
MARIA GONSALVES SCHIMPF AND
PANAGIS GALIATSATOS AND LORI
GOODING FROM FLORIDA STATE OF
UNIVERSITY.
>> I NEEDED DIRECTION.
I WROTE DOWN MY TALKING POINTS.
MY NAME IS MELITA BELGRAVE AND
WORK WITH OLDER ADULTS AND USE
APPROACH TO IMPROVE THE
COGNITIVE AND SOCIAL SKILLS IN
SETTINGS AND PRIMARILY USE HUMAN
IDENTITY AND SOCIALISM TO ENGAGE
OLDER ADULTS IN WELLNESS
SETTINGS AND INTERGENERATIONAL
PROGRAMS AND OLDER ADULTS WITH
DEMENTIA AND OLDER ADULTS
NEARING END OF LIFE.
I ENJOY IN COLLABORATIVE
RESEARCH WITH OTHER
PRACTITIONERS IN OTHER
DISCIPLINES.
DURING THE PANDEMIC I LEANED
INTO THIS AND WORKED WITH AGE
ETHNOMUSICOGIST AND SUPPORTING
INTERVENTIONS TO REACH OLDER
ADULTS STUCK AT HOME AND USING
THIS TO INCREASE THEIR
ENGAGEMENT WITH US AND WE HAD
TWO YEARS TO WORK ON THE PROJECT
AND DIDN'T JUMP INTO THE
RESEARCH AND IT'S NICE TO BUILD
A FOUNDATION AND BUILDING THE
RESEARCH QUESTIONS OUT OF IT AS
WE'RE BUILDING.
I WAS ABLE TO TRAIN INTO THE
MUSEUM AND WORK WITH MUSIC
THERAPY STUDENTS AND HOW TO USE
SOCIAL IDENTITY TO DEVELOP
INTERVENTIONS AND OUT TO
ACTIVITY THERAPISTS ON THE
GROUND AND HOW TO USE
INTERVENTIONS WE'VE DEVELOPED
AND HOW DO YOU USE YOUR SKILLS
TO CONTINUE ENGAGING OLDER
ADULTS WITH DEMENTIA.
IT'S A NEXT STEP THAT'S
IMPORTANT TO DO AS MUSIC THERAP
GISTISTSS -- THERAPISTS IS THE
LONG-TERM COMMITMENTS IN
PROJECTS TOGETHER.
>> SO I HELP CO-FOUND THE
INSTITUTE FOR MUSIC AND
NEUROLOGIC FUNCTION FOUNDED BACK
IN 1995 AND PART OF THE MISSION
AND VISION FOR THE INSTITUTE WAS
TO BRING TOGETHER THE WORLD OF
NEUROSCIENCE AND CLINICAL MUSIC
THERAPY TO START TALKING TO EACH
OTHER.
I CAN'T TELL YOU HOW EXCITED I
AM TO SEE HOW FAR WE'VE COME IN
THE PAST 30 PLUS YEARS IN NOT
ONLY HAVING THE DIALOGUES BUT
ALSO UNDERSTANDING SOME OF THE
UNDERLYING MECHANISMS THAT
CLINICAL MUSIC THERAPISTS HAVE
BEEN OBSERVING FOR QUITE SOME
TIME.
IN THE FIELD OF
NEUROREHABILITATION, THERE ARE
SOME MUSIC-BASED INTERVENTIONS
AT THIS POINT THAT ARE PRETTY
WELL ESTABLISHED AND YOU'VE
HEARD SOME OF THOSE ALREADY
TODAY THE USE OF RHYTHMIC
AUDITORY STIMULATION AND USING
THE RHYTHMIC BEAT TO HELP
SYNCHRONIZE GATE IN PEOPLE WITH
PARKINSON'S DISEASE.
WE CAN USE THAT SUCCESSFULLY AND
AS WE SAW THE POSSIBILITY OF
HAVING SOMEBODY SELF-CUE WITH
THAT.
THAT'S WELL ESTABLISHED.
THE SAME THING WITH RHYTHM AND
SING SONG TYPE INTERVENTION OF
MELODIC THERAPY FOR PEEK PEOPLE
WHO HAVE EPHAGIA AND WE SPOKE
ABOUT THE RHYTHMIC PIECE OF
LANGUAGE AND WHEN WE STUDY
PEOPLE USING THE SING SONG TYPE
PROTOCOL WE NOTICED THOSE WHO
DIDN'T SUCCESSFULLY RECOVER SOME
SPEECH COULDN'T TAP.
HERE'S A CLINICAL OBSERVATION
LOOKING BEYOND WHAT IS IT ABOUT
RHYTHM AND SPEECH AND SINGING
THAT OVERLAP OR COMPLIMENT EACH
OTHER AND HOW CAN WE USE THAT AS
A DIAGNOSTIC TOOL TO DISCERN THE
PERSON TO BENEFIT FROM THE
INTERVENTION.
THERE'S NOT A MANDATE IN WHICH
THEY CAN SHARE THE INFORMATION.
AND SOMETIMES WE CAN'T ALWAYS
PUBLISH WHAT WE OBSERVE.
I REMEMBER ALL WHO I COFOUND THE
INSTITUTE WITH WAS INVITED TO A
TALK AND AMERICA SAYS IF YOU
DON'T YOUR STORIES I DON'T KNOW
WHAT QUESTIONS TO ASK.
THAT'S WHY WE'RE HERE.
AWAY SHARE THE STORIES AND
OBSERVATIONS.
TOGETHER AS YOU'RE HEARING THIS
PARTNERSHIPS BETWEEN CLINICIANS
AND SCIENTISTS COULD REALLY
ADVANCE OUR KNOWLEDGE.
IN THE FIELD OF REHABILITATION
TOO THE CHALLENGES AND THE WORK
MUSIC THERAPISTS DO IS TO FIND
OUT WHO ARE THE PEOPLE WHO FALL
BETWEEN THE CRACKS.
WHO ARE THE PEOPLE WHEN THOSE
MUSIC-BASED INTERVENTIONS DON'T
WORK PERFECTLY.
WE KNOW FROM THE WORK OF JESSICA
GRAND WHEN A PERSON WITH
PARKINSON'S DISEASE THERE'S A
BREAK DOWN IN DOPAMINE AND FOR
SOME PEOPLE FOR THE RHYTHMIC
AUDITORY CUEING DOESN'T WORK
SUCCESSFULLY ALL THE TIME ARE
THEY CHANGING THEIR PERCEPTION
OF WHERE THE BEAT AND DO WE NEED
TO CHANGE THE EMPHASIS OF THE
BEAT TO BENEFIT.
UNDERSTANDING THOSE THINGS CAN
HELP US.
THE SAME THING AND SOME
CHALLENGES IN THE COGNITIVE AND
PSYCHOLOGICAL ISSUES PEOPLE WIEJ
NEUROREHABILITATION PRESENT WE
NEED TO DEAL WITH
THERAPEUTICALLY THROUGH MUSIC.
>> I DIDN'T PAY CONNIE TO THE
ROLE OF THE CLINICIAN.
IT SPEAKS TO THE GENIUS OF THE
PLANNERS TO PUT US NEXT TO EACH
OTHER AND ALLOWED US IN THE
BREAK TO THINK OF WHAT'S NEXT.
CLINICIANS ARE THE NATURAL
HISTORIANS THAT MAKE THE FUTURE
OF SCIENCE POSSIBLE.
I FOLLOW THE EXAMPLE OF C.
MILLER FISHER WHO SAID THE
BEDSIDE CAN BE YOUR LABORATORY.
STUDY THE PATIENT SERIOUSLY.
IN THAT SENSE I AM NOT A
CLINICIAN SCIENTISTS I'M A
SCIENTIFIC CLINICIAN.
WHAT DO I MEAN BY THAT?
I MEAN THAT MY CASE STUDIES ARE
END OF ONE AND MY
CO-INVESTIGATORS ARE PATIENTS
AND THE CLINICAL END POINTS ARE
THE RELIEF OF SUFFERING AND
PRESERVATION OF WELLNESS.
IT'S AN AWKWARDLY SUPPORTED AND
LITTLE FUNDED SUPPORTED
ENTERPRISE.
WE TEA THINGS UP FOR OTHERS.
CONNIE MENTIONED THE SCIENTIFIC
CLINICIAN AND THE STORY IS ABOUT
MUSIC.
AND HIS LOSS OF BODY IMAGE WAS
REPLACED WITH BODY MUSIC TO
PERFORM HIS ACTIVITIES OF DAILY
LIVING.
WHAT IS BODY MUSIC?
THAT'S FOR THE NEURAL
PSYCHOLOGIST AND RESEARCHERS AND
WHERE WE START.
THAT'S THE TIP OF THE ICEBERG TO
UNDERSTAND THE MECHANISMS WE
HOPEFULLY CAN ADAPT BEYOND THAT
END OF ONE TO EVERYONE.
WHETHER WE HEARD IT'S
PARKINSON'S OR THE ROLE MUSIC
COULD PLAY IN SCHIZOPHRENIA.
I'M REVIEWING A PIECE LOOKING AT
FREDER
FREDERICK NIETZE AND PLAYED
COMPLEX SONS WHAT UNDER LIES THE
ABILITY FOR THE MUSIC AND THESE
ARE OBSERVATIONS THAT HAPPEN
BETWEEN A PATIENT OR AMONG THE
PATIENT, FAMILY AND DOCTOR OR
CLINICIAN BROADLY DEFINED.
NOT MORE, ESPECIALLY BROADLY DE
LINED.
THE EXAMPLE IS THERE'S A THING
CALLED CAT GRASS SYNDROME AND I
LOOK AT CONNIE AND LOOKS LIKE
HER BUT ISN'T HER AND LOOKS
FAMILIAR.
THE DIAD IN BETWEEN THE PATIENT
WAS MUSICAL AND WHAT WE CANNOT
DISTORT THE VISUAL DISTORTION IS
TO AMPLIFY THE VERBAL.
IN THIS CASE I SAID, WHISTLE A
FAMILIAR TUNE, SING A SONG SO
YOU KNOW IT HAS TO BE HIM AND
THEN REENTER THE ROOM AND THAT'S
BEEN EFFECTIVE.
AND IS THIS THE STUFF WE HAND
OFF TO MORE THOROUGH CLINICIAN
SCIENTISTS.
I HOPE WE CAN INCENTIVIZE AND
SYSTEMATIZE THE ROLE THE
SCIENTIFIC CLINICIAN PLAYS IN
THIS BECAUSE WITHOUT OUR
OBSERVATIONS THERE WOULD BE
LITTLE MATERIAL FOR THE
REDUCTIONIST AND MODEL MAKING
THAT SYNCOPATES SYMPTOMS WITH A
SYSTEMATIZED APPROACH AND THAT
IS OF COURSE WHAT RESEARCH IS
SUPPOSED TO DO TO BRING BACK TO
HELP SOMEBODY IN MY CLINIC.
THAT'S MY PART TO PLAY.
>> IT'S A PLEASURE TO BE WITH
YOU.
I HAVE THE PLEASURE OF BEING
ABLE TO DRAIRECT A PROGRAM
SUSTAINING THE MENTAL WELL BEING
OF OUR WORK PROFESSIONAL
WORKFORCE THROUGH EMOTIONAL
SUPPORT AND PSYCHOLOGICAL FIRST
AID AND TRAINING AND EDUCATION
KNOWING WE WANT TO FOCUS ON THE
INDIVIDUAL'S MENTAL HEALTH AND
WELL BEING AND AT THE COLLECTIVE
AND ORGANIZATION AL LEVEL.
WE KNOW THEY'RE INTERWOVEN.
AND CO-CREATED MUSIC BECOMES THE
CREATIVE TOOL WITH WHICH TO
EXPLORE THE CLIENT'S INNER LIFE
PROVIDING A PATH TOWARDS GROWTH
AND GREATER SELF-AWARENESS.
I'M CURIOUS ABOUT WHETHER OR NOT
ANALYTICALLY INFORMED MUSIC AND
CREATIVE ARTS INTERVENTIONS CAN
PROMOTE INCREASED
SELF-COMPASSION, PROMOTE
INCREASED PROFESSIONAL QUALITY
OF LIFE AND REDUCE SYMPTOMS OF
BURNOUT AND REDUCE EXHAUSTION,
DEPLETION, DEEP PERSONALIZATION
AND LOSS OF PURPOSE AND MEANING
IN WORK.
THE LAST FOUR YEARS BROUGHT
ENORMOUS CHANGES AND MEDICAL
RECKONING AND HAS CAUSED US TO
AND WHAT WE'RE DOING AND WE'VE
EXPERIENCED BURN OUT AND
DEMOCRATING THE DESIGN OF
INTERVENTIONS TO CARE FOR THE
WELL-BEING OF OUR HEALTH CARE
WORKERS, OUR HEALERS.
THE WORK I'M TRUSTED AND HONORED
TO DO INTEGRATED WITH OTHER
HEALTH BASED INTERVENTIONS
THEY'RE REDEFINING RESILIENCE
AND EXPERIENCE A DEEP SENSE OF
COMMUNITY AND CARE.
THEY'RE CELEBRATING AND HONORING
COLLECTIVE HUMANITY AS WELL AS
THE EXPRESSION OF CULTURAL AND
CONTEXTUAL IDENTITY.
AND HERE'S THE EXPERIENCE OF THE
WORK.
>> I FEEL LIKE THE PLAY AND
ART --
>> AND THERE'S BUFFERING.
>> I FEEL THE PLAY, THE ART IS
AN AVENUE THAT CAN BE USED BY
SOMEBODY WHOSE DOORS ARE CLOSED.
CLOSED NOT BECAUSE OF CHOICE BUT
BECAUSE THEY HAVE TO.
SOMETIMES THOSE DOORS NEED TO BE
OPEN.
YOUR HEART CAN ONLY GET SO MUCH
AND SOMETIMES YOU HAVE TO LET GO
SO YOU CAN DANCE.
SO THE ART --
>> IT'S A BEAUTIFUL VIDEO AND
MAKE SURE IT GETS SHARED.
>> THE DOOR OF YOUR HEART AND
MIND AND SOUL.
IT'S A KEY TO HELP YOU RELEASE
THOSE NEGATIVE ENERGY AND
POSSIBLY HELP BRING IN THE
ENERGY.
>> THANK YOU.
THE TENACITY FOR THE VIDEO FOR
THE PERSEVERE.
I'M PANAGIS GALIATSOTOS AND I'LL
TALK ABOUT PREVENTIVE PULMONARY.
I'M A LUNG DOCTOR.
YOU SAY I NEVER HEARD OF THAT
IT. DOESN'T EXIST.
THERE'S PREVENTIVE CARDIOLOGIST
AND GOD BLESS THEM AS THEY TRY
TO PREVENT THE HEART ATTACK THEY
TRY TO PREVENT THE DISEASE AND
MADE ME REALIZE WHY THERE ISN'T
PREVENTIVE PULMONARY AND TRYING
TO PREVENT LUPUS AND
RHEUMATOLOGIST AND LUNG DOCTORS
PLAY VARIOUS ROLES PREVENTING
ONE DISEASE WON'T EXIST.
IF ANYTHING CAN WE CREATE
SOMETHING THAT TRANSCENDS ALL
THE DISEASES TO SIGNAL
SOMETHING'S HAPPENING TO THE
LUNGS.
THAT'S WHAT WE'RE TRYING TO
STRIVE FOR USING MUSIC AND
VOCALISTS WE BELIEVE WE'LL COME
UP WITH A MECHANISM TO SHOWCASE
LONGITUDINALLY DISEASE IS
HAPPENING.
REGARDLESS OF THE DISEASE AND
THAT WARRANTS INVESTIGATION BUT
WE WON'T COME UP WITH ONE
BIOMARKER TO TRANSCEND ALL AND
COME UP WITH ONE TEST TO
TRANSCEND ALL BUT THINK WE CAN
USING MUSIC.
MORE TO COME FROM THAT ASPECT.
AND THE SECOND HALF IS ACADEMIC
PHYSICIANS WEARING MULTIPLE HATS
AND THERE'S A BI-DIRECTIONAL
COMMUNITY AND HOUSING UNITS AND
SCHOOLS WHERE WE PROMOTE HEALTH
THROUGH INFLUENTIAL LEADERSHIP
COMING FROM COMMUNITY HEALTH
WORKERS AND OVERSEE THE LARGEST
TRAINING SITE IN THE STATE OF
MARYLAND.
WHAT WE'VE DONE THERE IN
BALTIMORE CITY IS GRAB THE
COMMUNITY HEALTH WORKERS TO
IDENTIFY AS ARTISTS.
GOOD STORYTELLERS AND GOOD
MUSICIANS AND WHENEVER THERE'S A
TRAUMA AS THERE WAS WITH A LOCAL
SCHOOL SHOOTING WE GET THE
COMMUNITY HEALTH WORKERS IN
THERE TO BE AN ADJUNCT USING
MUSIC TO REAFFIRM THE SOCIAL
COHESION TO GET PEOPLE THROUGH
THE TRAUMA.
MORE TO COME ON THAT AS WE NOT
ONLY DO IT IN BALTIMORE CITY BUT
EXTEND.
IN MARYLAND MENTAL HEALTH IS
IMPACTED GREATLY ESPECIALLY
POST-PANDEMIC AND WE'RE TRYING
TO IMPLEMENT IT WITH TRAUMA
INFORMED CARE WITH MUSIC AND
WITH HEALTH LEADERS WILL BE A
TRANSFORMATIVE THING WE CAN
PROVIDE.
>> I'M LORI GOODING AND TALK
ABOUT A ROLE ABOUT THE AMERICAN
MUSIC THERAPY ASSOCIATION CAN
PLAY.
RESEARCH HAS ALWAYS BEEN A
PRIORITY AND ENCOURAGE RESEARCH
PROJECTS.
AND IN MANY WAYS IT'S STILL TO
ENCOURAGE RESEARCH.
TODAY WE HAVE TWO ASSOCIATION
JOURNALS.
ONE PUBLISHING RESEARCH FOR 60
YEARS.
WE HAVE ARE TWO ASSOCIATION
GRANTS WHICH HELP SUPPORT MUSIC
THERAPY RESEARCH PROJECTS.
AND THE ASSOCIATION HOSTS
CONFERENCES, SIM POSE --
SYMPOSIA AND DOES EDUCATION AND
ADVOCACY WORK.
WE RECOGNIZE THE IMPORTANT ROLE
MUSIC PLAYS AND FOR RESEARCHERS
AND SCHOLARS PRESENTING AT THIS
WORKSHOP ARE A TESTAMENT TO THE
WORK IN MUSIC THERAPY RESEARCH
AND SUGGEST STRIDES TOWARDS
BUILDING COLLABORATION, CAPACITY
AND MUCH MORE.
AND THE ASSOCIATION REMAINS
COMMITTED TO RESEARCH AS A
PRIORITY AND REMAINS COMMITTED
TO CRITICAL REFLECTION,
STRENGTHENING PARTNERSHIPS AND
DIVERSE RESEARCH MOVING FORWARD.
THANK YOU.
>> THANK YOU TO THE PANELISTS.
THANK YOU TO ALL THE PANELISTS
FOR SHARING.
WE WANT TO OPEN UP THE FLOOR FOR
Q&A BECAUSE OF TIME.
IF YOU HAVE A QUESTION WE ASK
YOU TO COME TO THE MIC.
I'LL START US WITH THE FIRST
QUESTION AND OPEN TO CONNIE,
LORI AND PANAGIS.
HOW DOES PRACTICE INFORM
RESEARCH AND RESEARCH INFORM
PRACTICE WHEN WE THINK ABOUT
APPLIED MUSIC-BASED RESEARCH.
>> IT'S CRUCIAL WE HAVE
OPPORTUNITIES.
KNOWING WHO THE PARTNERS ARE,
JOANNE LOWEY AND OTHERS MEDICAL
SETTINGS USUALLY HAVE ACCESS TO
OTHER CLINICAL PARTNERS TO
ADVANCE THE RESEARCH
OPPORTUNITIES.
OPENING UP THE DOORS AND
ALLOWING THE CONVERSATIONS TO
TAKE P
TAKE PLACE CAN HELP ADVANCE THE
SCIENCE AND CLINICAL PRACTICE.
BEING AT THE BEDSIDE YOU LEARN
SO MUCH AND THE CLINICAL
PRACTICE HAS INFLUENCED ME TO
FIND ANSWERS IN MUSIC.
FROM ANY STANDPOINT IT'S MY
PATIENTS TO HELP HE RECOGNIZE WE
NEED TO PULL THIS MUSICAL
THERAPY INTO PULMONARY PRACTICE,
MORE ORGANIZED AND SUCCINCTLY
AND EVERY TIME WE'VE GONE IN THE
COMMUNITY TO REACT TO A TRAUMA,
THE NUMBER ONE THING REQUESTED
IS ART.
THE NUMBER ONE THING.
FROM THE STANDPOINT THIS ALWAYS
AFFECTS THE COMMUNITY.
>> I WOULD ADD TO THE WONDERFUL
THINGS THAT HAVE BEEN SAID THAT
RESEARCH AND PRACTICE ARE TWO
SIDES OF THE SAME COIN.
THE ROLE SOMETHING LIKE AMTA CAN
PLAY IS HELPING INDIVIDUALS
UNDERSTAND THE CONNECTION AND
PROVIDING THE ABILITY TO ACCESS
THAT INFORMATION.
WHETHER IT'S THROUGH JOURNALS OR
CONFERENCE PRESENTATIONS OR
THROUGH FLUNGS THE TRAINING AND
HELPING THEM SEE THE CONNECTION
AND THE RESEARCH AS THEIR
STARTING POINT AND COMBINE WITH
THEIR OWN EXPERTISE AND VALUES
AND BELIEFS OF THE CULTURES OF
THE PEOPLE THEY'RE WORKING WITH.
>> FIRST QUESTION?
>> THANK YOU SO MUCH FOR THE
PANEL.
TALLIA GOLDSTEIN.
FOR THE MUSIC AS MEDICINE
ELEMENTS IT REQUIRES THE
INDIVI
INDIVIDUALS REMEMBERING TO DO IT
TO SING FOR THEIR STRIDE
CROSSING THE STREET AND WHAT
WORK HAS BEEN DONE IN ENGAGE IN
THE THERAPIES THAT CAN BE
HELPFUL FROM OUTSIDE THE THERAPY
ROOM OR THE MEDICALIZED SETTING.
>> WE TRAIN THE DIRECT CARE
PARTNER WHETHER IT'S A FAMILY
MEMBER OR CNA TO BECOME A WAY OF
PRACTICING IT ONGOINGLY AND
REMINDING THE PERSON TO USE THAT
AS WELL.
PART OF THE DESIGN IS EACH
INDIVIDUAL WILL HAVE HOME WORK
WHERE THREE DAYS A WEEK THEY'RE
SUPPOSED TO WALK FOR 30 MINUTES
WITH THEIR OPTIMIZED CUE AND
WE'LL TRACK WHETHER THEY DO THAT
AND AFTER THE STUDY FINISHES
WE'LL SEE IF THEY INCORPORATED
WHAT THEY LEARNED INTO THEIR
DAILY LIVES AND BEGIN TO GIVE A
FIRST LOOK AT THE QUESTIONS.
>> AND IF THAT APPLIES TO
INITIATING MOVEMENT AND THE
REASON WHY I'M ASKING THAT IS I
WORKED WITH SEVERAL GROUPS OF
PARKINSON'S PATIENTS AND
SOMETIMES FROM THE NEEDS OF THE
CLIENT.
THEY CAME IN WITH A LASER LIGHT
ON HER CAIN -- CANE BECAUSE SHE
NEEDED TO STEP OVER THAT AND
INITIATE THE MOVEMENT AND IF
THAT WORKS FOR INITIATING
MOVEMENT SHE WOULD USE THAT
BECAUSE SHE NEEDED TO WALK.
>> I CAN THE PATIENTS HELP THEM
IMPLEMENT IT.
>> I'M FROM HIP -- NIH.
I WAS CURIOUS ABOUT THE
MECHANISM YOU THINK IMPROVES
WALKING AND I THINK BRAIN AND
TRAIN THE SINGING HELPS TRAIN
THE BRAIN AND THINK MAYBE SEEING
IT STIMULATES THE VAGUS NERVE
AND MAYBE THAT'S WHERE YOU HAVE
THE BENEFIT.
I'M CURIOUS WHAT THE
POSSIBILITIES ARE.
>> I HADN'T
>> I THOUGHT IT COULD GO TO THE
CEREBELLUM AND USING THE
INTERNAL CUE USING WHAT SPARE
BASAL GANGLIA IS LEFT AND SEE A
DIFFERENCE WHEN THE INTERNAL
CUES VERSUS EXTERNAL.
THE IDEA OF GETTING EVERYTHING
WORKING TOGETHER AND MATCHING
SOMETHING COMING FROM WITHIN
VERSUS MATCHING SOMETHING
OUTSIDE OF YOURSELF INHERENTLY
SPEAKS TO THE VARIABILITY PIECE.
IT SHOULD BE EASIER IN SOME WAYS
TO HAVE EVERYTHING MOVING IN THE
SAME DIRECTION WITH THE SAME
TIMING IF IT'S ALL INTERNALLY
GENERATED.
IN TERMS OF THE EXACT NEURAL
MECHANISM WE HOPE WE SEE WITH
TRAINING MAYBE CERTAIN THINGS
ARE STRENGTHENED OR NOT IF YOU
TRAIN WITH MUSIC AND GIVE MORE
INSIGHT THAN WE HAVE RIGHT NOW.
>> THANK YOU.
WHEN YOU PLAY THE BOWLS IT
SOUNDED POWERFUL.
ARE YOU PUTTING INTENTION INTO
THAT SOUND OR ARE YOU LETTING
THE BOWLS DO THE WORK?
QUESTION TWO, TO BE A MUSIC
THERAPIST, WHAT'S THE CRITERIA
MUSICALLY?
DO YOU HAVE TO BE A MUSICIAN
FIRST AND HAS ANYONE STUDIED
ANCIENT CULTURES AND HOW THEY'VE
USED MUSIC IN THEIR SOCIETIES ON
DIFFERENT CONTINENTS AND HOW'S
THAT FACTOR.
>> WE OFTEN TALK ABOUT THE
TECHNIQUE YOU LEARN WHETHER
YOU'RE A DOCTOR AND YOU LEARN
YOUR CRAFT AND AT A HIGH LEVEL
OF EXCELLENCE AND THEN THE
TECHNIQUE OF YOUR HEART AND IT'S
SO APPARENT THAT THAT IS JUST IN
THE ROOM FROM EVERYBODY.
I HAVE TO FIND A WAY TO CLEAR MY
OWN INSTRUMENT TO SET A HIGH
INTENTION FILLED WITH LIGHT AND
LOVE AS WE SAY IN THE GROUP AND
THEN PLAY AND THE TECHNIQUE I
UNDERSTAND AND WHY INTERVALS AND
BOWLS TO USE AND HOW TO COMBINE
THEM AND THEN IT HAPPENS.
BUT THAT PURE INTENTION.
WE CAN'T FORGET THE ASPECT OF
LOVE.
>> THE LAST QUESTION CAME ABOUT
I HEARD IT AND WE HAVE HISTORY
IN WORKING WITH PATIENTS AND
RESEARCH REALLY MAKING SURE AS
MUSIC THERAPISTS AND WE DELVE
INTO PEOPLE'S PAST RELATIONSHIP
WITH TRAUMA AND THE CONCEPT OF
SOCIAL MUSIC.
WE WORK TOGETHER.
WE'RE WRITING TOGETHER.
ON HOW PEOPLE FARE THROUGH PAST
TRAUMAS WITH MUSIC.
THIS IS A BIBLE OF LEARNING IN
MUSIC THERAPY.
I THINK TRAUMA SHOULD BE PART OF
DISEASE MANAGEMENT.
IT'S IN THE GREAT WORKS THAT
CONFLICT THAT COMES THROUGH
MUSIC REPERTOIRE IS PART OF OUR
WORK AS MUSIC THERAPISTS IN
TREATING HELPS
>> I LOVE WHAT JERALYN SAID AND
LOVE SAY HUGE COMPONENT OF THE
INTERVENTION AND WORK AND WHO
STUDIED ANCIENT CULTURES AND
WHAT QUALITIES I DON'T KNOW BUT
I WAS SHARING WITH DR. HELBY AND
I STUDY AT JOHNS HOPKINS IN MY
UNDERGRADUATE WORK AND
UNDERSTOOD THE EXPRESSION OF
CULTURE THROUGH MUSIC IN A WAY
PROFOUNDLY UNIQUE FOR ME AND LED
TO MY UNDERSTANDING ENGAGING IN
SONG AND DANCE WHICH WAS IT IS I
THINK SOMEONE EARLIER IN THE
OTHER SESSION SAID IT'S LIKE
IT'S FLOWING OUT OF US THE A
PRIMAL PLACE AS HUMAN BEINGS WE
SUPPRESS IT IN OUR CULTURE BUT
IN OTHER PLACES OF THE WORLD
IT'S INTEGRAL TO DAILY LIFE AND
HOW WE ENGAGE.
THE MINUTE WE INTRODUCE SONG AND
DANCE INTO OUR RESEARCH IT ALL
CAME TO THE SURFACE THE
PSYCHOSOCIAL NEEDS WERE
ACCESSIBLE.
IT'S RELATED AND HEART AND LOVE
ARE ALSO SO INTEGRAL IN THE WORK
WE DO AS MUSIC THERAPISTS AND
CRITICAL FOR THE RESEARCH TOO.
THE RESEARCHER NOT JUST AN
INSTRUMENT IT'S A HUMAN BEING
AND HEART.
>> ONE MORE AND THEN THE NEXT.
>> I WANTED TO ANSWER ABOUT THE
EDUCATION OF THE MUSIC THERAPIST
BECAUSE I'M NOT SURE IF EVERYONE
HERE KNOWS THE BACKGROUND.
WHEN I INTERVIEWED HIGH SCHOOL
STUDENTS THEY'RE CORE
CHARACTERISTICS IS THEY WANT TO
HELP PEOPLE AND HAVE A PASSION
FOR MUSIC.
I THINK THOSE TWO CORE
CHARACTERISTICS WILL LEAD THEM
THROUGH WHAT THEY'RE STUDIES
REQUIRE OF THEM.
THEY HAVE THEIR MUSIC COURSES
AND PRINCIPLE INSTRUMENT THEY
AUDITION ON AND MUSIC HISTORY
A
AND THE MUSIC THERAPY COURSES
AND CLINICAL PLACEMENTS THROUGH
THE SENIOR YEAR PROBABLY IT
DEPENDS ON THE SCHOOL THREE TO
FIVE CLINICAL PLACEMENTS OF AGES
AND DIAGNOSES AND SIX-MONTH
INTERNSHIP FROM A NATIONAL
ROSTER OR UNIVERSITY AFFILIATED.
AT THE END OF THE INTERNSHIP
THEY SIT FOR A BOARD EXAMINE AND
RECEIVE MUSIC THERAPIST BOARD
CERTIFIED AND ELIGIBLE TO BE
HIRED.
>> WE HAVE TIME FOR ONE AND A
HALF QUESTIONS.
WE'LL GO HERE AND THEN --
>> I'LL ASK THREE-QUARTERS OF A
QUESTION.
I'M FORMER DIRECTOR OF RESEARCH
AT UNIVERSITY HOSPITALS.
THERE'S TEN GAPS FILLED BY THE
QUESTION IS RESEARCH WHICH IS
USUALLY 50, 100 PEOPLE WHICH IS
LIMITED AND RIGOROUS ELIGIBILITY
AND WE DO PRACTICE-BASED
RESEARCH AND WE COLLECT DATA
EVERY DAY.
MUSIC THERAPISTS CHART AND DATA
HARMONIZE AND GET THE OUTCOMES
AND LOOKING TO THAT VOLUME OF
15,000 PATIENTS OVER THE LAST
THREE YEARS WE CAN LOOK AT
TRENDS AND WHICH PATIENTS
RESPOND BETTER AND WHAT OUTCOMES
BETTER AND DOES TIE IN WITH THE
PROVIDERS BECAUSE THE NURSES AND
PHYSICIANS REFER TO THOSE
VISITS.
I THINK THE IDEA IS RESEARCH AND
PRACTICE ARE NOT IMMUTABLE AND
WE WORKED TOGETHER WE'LL BUILD
THIS VOLUME AND DATA AND
HOSPITAL-BASED RESEARCH TOMORROW
BUT THINK ABOUT WHAT HAPPENS
EVERY DAY WHAT HAPPENS OUTSIDE
OF CLINICS AND RESEARCH AND
AMBULATORY SETTINGS.
WE HAVE A LOT OF OPTIONS.
NO QUESTION BUT HOPEFULLY TO SEE
AS A BENEFIT.
>> THANK YOU.
>> I THINK ONE OF THE THINGS
WE'RE COMING TO UNDERSTAND IS
THAT TRAUMA DISEASE CONDITIONS
WE DESCRIBE THEM AS BELONGING TO
INDIVIDUALS.
THEY BELONG TO SYSTEMS AND
FAMILIES.
SO A BROKEN OR INCOMPLETE
PREGNANCY IS A LOSS A PARTNER
RELATIONSHIP.
A GAIN IN GAIT IS A HOPE FOR A
FAMILY MEMBER FOR SOMEONE WITH
PARKINSON'S AND IT'S INTERESTING
TO HEAR ABOUT THE CONSEQUENCES
OF INTIMATE SYSTEMS AROUND THE
INTERVENTIONS YOU ALL ARE SO
BRAVELY INVOLVED IN.
>> IF I CAN MAKE A SMALL
CONTRIBUTION AS TO THINK OF
RESEARCH AS FIELDS INSTEAD OF
SUBJECTS AND THE PROGRESSION IS
YOU START WITH LOCALIZATION.
FIRST PHRENOLOGY.
THE BUMP ON THE SCHOOL IS WHY
GENIUS AND THIS ONE STUPIDITY
AND WE THINK THERE'S DOMAIN AND
CONCENTRATION AND THEN
INCREDIBLE PEOPLE LIKE EDITH
CAPLIN SAYS HOLD ON THERE'S
CONNECTIONS HERE AND THEN
THERE'S NODES AND WE HAVE
DISTRIBUTIVE NETWORKS AND WHAT
YOU'RE TALKING ABOUT IS A
SPECIAL FIELD AND IMPORTANT ONE
AND I DON'T KNOW YET THE RULES
OF ENGAGEMENT FOR IT.
WHICH IS THAT THE MOST
DISTRIBUTED NETWORK IS NOT FROM
THIS PART OF THE BRAIN TO THIS
PART OF THE BRAIN BUT FROM THIS
BRAIN TO THE BACK BRAIN.
THERE WAS A TERM CALLED ROMANTIC
SCIENCE THAT ALEXANDER LURIA
REPORTED AND THERE'S A
COMPLEMENT WHICH IS AN NIH
THING.
THE E-A THING IS THE CONCEPT OF
NEURAL HUMANITIES COMING UP AND
I THINK WHERE THE INTERACTION IS
BETWEEN THOSE TWO FIELDS IS
EXACTLY WHERE THE CLINICAL
OUTCOMES THAT YOU'RE LOOKING FOR
WILL BE.
THE MOST DISTRIBUTED NETWORK IS
ACROSS BRAINS NOT WITHIN.
>> AND TO ADD TO THAT, I WOULD
BE A HORRIBLE HOPKINS DOCTOR IF
I DIDN'T QUOTE AND TUBERCULOSIS
IS A DISEASE WITH A SOCIETAL
STANDPOINT AND OF ALL THE THINGS
WE CAN OFFER IS ART.
THE MORE WE VIEW THAT AS THE
ASPECT OF RIFF FROM A SOCIAL
COHESION IS WHAT WE TRY TO DO
AND ORGANIZING TO SCIENCE, SURE,
WE'LL FIGURE THAT OUT BUT FROM
THAT STANDPOINT WE'LL LED THE
COMMUNITY LEAD US AS SCIENCE
FOLLOWS BEHIND.
>> THANK YOU.
THANK YOU, EVERYONE.
>> THANK YOU EVERYONE FROM
SESSION 2.
THAT WAS FANTASTIC.
OUR MUSICIANS, SPEAKERS AND
PANELISTS AND WE'LL MOVE TO A
15-MINUTE BREAK.
WELCOME BACK FROM THE BREAK AND
READY FOR SESSION 3, RESEARCH ON
MUSIC, INFORMATION AND HEALTH.
AND BEFORE IT KICKS OFF WE'RE
PLEASED TO WELCOME DR. THERESA
CRUZ DIRECTOR OF THE NATIONAL
CENTER FOR MEDICAL
REHABILITATION RESEARCH AT THE
EUNICE KENNEDY SHRIVER INSTITUTE
OF HUMAN HEALTH AND HUMAN
DEVELOPMENT TO OFFER SPECIAL
REMARKS.
WELCOME TO THE PODIUM,
DR. THERESA CRUZ.
>> THANK YOU.
GOOD AFTERNOON.
MY REMARKS ARE GOING TO TOUCH ON
ACCESSIBILITY SO START WITH A
VISUAL DESCRIPTION.
I'M MIDDLE AGED WHITE WOMAN.
I HAVE SHOULDER LENGTH BROWN
HAIR AND WEARING A BLACK TOP AND
MY FESTIVE GREEN BLAZER WORKS
WELL FOR ST. PATRICK'S DAY AND
AS CATHERINE SAID I'M THE
DIRECTOR OF THE NATIONAL CENTER
FOR MEDICAL REHABILITATION
RESEARCH AT NICHD.
OUR DIRECTOR DR. BIANCHI GIVES
HER WARM REGARDS AND APOLOGIZES
SHE COULDN'T BE HERE IN PERSON.
IN ACADEMIA WE OFTEN TALK ABOUT
IMPOSTER SYNDROME.
THE IDEA WE HAVE TALENTED BRIGHT
ACCOMPLISHED PEOPLE AND SOMEHOW
THEY FEEL INADEQUATE WHEN
THEY'RE SURROUNDED BY THEIR
PEERS.
WITH INCONGRUITY WITH HOW THEY
FEEL INSIDE AND HOW THEY'RE
PERCEIVED.
MY MUSICAL PURSUITS ENDED WITH
TEACHING LITTLE FINGERS TO PLAY
AND PULL OUT THE BOOK OVER THE
WEEKEND.
IT MIGHT ENCOURAGE ME TO BRING
THAT ASPECT OF MUSIC BACK INTO
MY LIFE.
IT HAS BEEN A PLEASURE TO BE
PART OF THIS AS A FAN OF THE
MUSIC AND A FAN OF THE SCIENCE.
NICHD IS ONE OF THE FEW
INSTITUTES AT NIH THAT ISN'T
FOCUSSED ON AN ORGAN OR A
DISEASE SO OUR MISSION IS
BROADER.
AND OUR VISION IS HEALTHY
PREGNANCIES, HEALTHY CHILDREN,
HEALTHY AND OPTIMAL LIVES.
THOSE PRIORITY POPULATIONS,
PREGNANT PEOPLE, CHILDREN AND
ADOLESCENTS AND CHILDREN WITH
DISABILITIES HAVE BEEN WELL
REPRESENTED IN THE AGENDA TODAY
AND TOMORROW.
AND I WANT TO THANK THE
ORGANIZING COMMITTEE FOR BEING
SO THOUGHTFUL IN PULLING
TOGETHER ALL THOSE POPULATIONS
OF IMPORTANCE.
WITH MY LAST MINUTE, AS WE MOVE
ON TO MUSIC, EDUCATION AND
HEALTH, I'D LIKE TO MAKE A PITCH
FOR INCLUSION AND ACCESSIBILITY.
EARLIER THIS YEAR, NIH HOSTED A
CONFERENCE ON HEALTH DISPARITIES
EXPERIENCED BY PEOPLE WITH
DISABILITIES.
IT WAS A WONDERFUL CONFERENCE
TALKING ABOUT ABLISM.
WE STARTED THAT CONFERENCE WITH
MUSIC AND I GOT TO INTERVIEW
MUSICIAN GALEN LEE.
AND SHE SPOKE ABOUT THE
IMPORTANCE OF HAVING MUSIC
TEACHERS WHO WERE WELCOMING OF
HER AND WERE WILLING TO TRY OUT
DIFFERENT ACCOMMODATIONS SO SHE
COULD LEARN TO PLAY THE VIOLIN
AND THAT'S HER CAREER.
SHE DOES SO HOLDING IT WITH MORE
OF A CELLO POSTER TO ACCOMMODATE
HER SHORT STATURE.
AND THAT WASN'T AN EXPENSIVE
ACCOMMODATION.
IT DIDN'T REQUIRE EXTRA
EQUIPMENT.
IT JUST REQUIRED THIS OPENNESS
AND AN ATTITUDE AND WILLINGNESS
TO BE INCLUSIVE AND CREATIVE.
SO WHEN WE MOVE INTO THE NEXT
SECTION I WOULD ASK WE THINK
ABOUT ARE THERE BARRIERS WE HAVE
IN OUR CLINICAL PRACTICE AND OUR
RESEARCH THAT MIGHT BE
PREVENTING MORE PEOPLE FROM
BEING A PART OF THE REALLY GREAT
WORK WE DO HERE AND HOW MUCH
MORE IMPACTFUL WE COULD BE WITH
THAT INCLUSION.
SO WITH THAT, I WILL SAY THANK
YOU AND TURN IT OVER TO SESSION
3.
>> THANK YOU, DR. CRUZ WE
APPRECIATE YOUR COMMENTS
PARTICULARLY ON ACCESSIBILITY.
IT'S TIME IT BEGIN SESSION 3,
RESEARCH ON MUSIC, EDUCATION AND
HEALTH AND LED BY SUNIL IYENGAR
AND DANA SCHLOESSER AND ANTHONY
BRANDT.
DR. COLLINS WARNED US WE'D BE
DRINKING FROM A FIRE HOSE.
HOW ARE WE DOING?
GLUG, GLUG.
I SHARE THE ADMIRATION FOR HOW
MUCH HAS HAPPENED AND HOW MUCH
HAZE GROWN AND HOW MUCH THE
FIELD'S ACCOMPLISHED IN THE LAST
FEW YEARS.
VERY GRATEFUL TO BE HERE.
WE'RE FREEBLTH
WE'RE FREQUENTLY REMINDED
CAREERS CAN BE EXTENDED AND AND
WE ALSO KNOW FROM TESTIMONY AND
LITTLE RESEARCH HOW ONE CATEGORY
CAN REINFORCE THE OTHER
ENRICHING MEDICAL, SCIENTIFIC
AND ARTISTIC LIVES IN THE LIVES
OF PATIENTS, STUDENTS AND
AUDIENCES.
DR. WONG EXEMPLIFIES THE
TRADITION AND PEDIATRICIAN AND
ASSOCIATE PROFESSOR AT HARVARD
MEDICAL SCHOOL AND THE ARTS AND
HUMANITIES HAVE BECOME
INTERWOVEN AND LEARNED TO PLAY
PIANO AND GUITAR BEFORE TURNING
TO THE VIOL AINTO ADULTHOOD AND
CURRENTLY A VIOLINIST IN THE
LONGWOOD SYMPHONY ORCHESTRA AND
LED THE GROUP AS PRESIDENT FOR
20 YEARS AND ALSO INVOLVED WITH
OTHER MUSIC EDUCATION
INITIATIVES.
I'M GLAD SHE'LL KICK OFF THE
MUSIC EDUCATION AND HEALTH AND
RESEARCH GRANTS FROM THE NIH.
I'M EQUALLY GLAD MUSIC EDUCATION
IS BEING EXPLORED IN CONNECTION
TO HEALTH AND HUMAN DEVELOPMENT.
AND I HOPE THE BOND BECOMES MORE
FIRMLY ESTABLISHED IN THE MINDS
OF EDUCATORS, POLICY MAKERS AND
THE SCIENTIFIC COMMUNITY.
DR. WANG WILL BE JOINED BY HER
DAUGHTER, JEN CHANG WITH A
MASTER'S FROM JULIARD AND
CONTRIBUTED TO THE MISSION OF
THE NATIONAL ENDOWMENT FOR THE
ARTS AS THE WHITE HOUSE LIAISON
NOTABLY WHEN PARTNERSHIPS
BETWEEN OUR AGENCY AND THE CDC.
GIVE THEM A HAND.
>> THANK YOU.
THAT WAS WRITTEN IN 1982.
IT EXPRESSES NOSTALGIA AND
SADNESS AS HE WAS LEAVING A
MUSIC CAMP AT THE END OF THE
SUMMER.
THE CAMP IS AT THE BASE OF THE
MOUNTAINS ABOUT THREE HOURS AND
A REALITY AWAY FROM NEW YORK
CITY.
.
CONTOURS OF THE MUSIC WITH RISES
AND FALLS YOU CAN ALMOST
VISUALIZE THE BEAUTIFUL
MOUNTAINS HE WAS WRITE FOR.
AND BOTH BREATHE IN THE MOUNTAIN
AND FEEL LIKE YOU'RE COME BEING
BACK HOME.
WHEN J. UNGER WROTE THE WORK HE
WOULDN'T IMAGINE IT WOULD BECOME
PART OF OUR LIVES.
IN 1984 IT WAS HEARD BY KEN
BURNS WHO INCORPORATED INTO A
DOCUMENTARY THE CIVIL WAR AND
WHEN THEY WERE WRITING A FINAL
LETTER WITH HIS MUSIC IN THE
BACKGROUND IS ONE OF THE MOST
POIGNANT AND MOVING MOVEMENTS OF
THE FILM.
THE MUSIC AND FILM HAVE BEEN
PERMANENTLY FUSED.
I CAN'T HEAR THE MUSIC WITHOUT
SHARING THAT EMOTION.
YEARS LATER, MY HUSBAND AND I
PLAYED IN A DIFFERENT SETTING
FOR MY DAUGHTER'S CLASSROOM WE
PLAYED AT THE END OF THE SCHOOL
YEAR BEFORE SUMMER AND THEY
UNDERSTAND THE LONGING AND
SADNESS WRITTEN INTO THE MUSIC.
THEY HUGGED EACH OTHER AND THEIR
TEACHER AS THEY LEFT.
THESE ARE THE GIFTS WE BESTOW ON
OUR KIDS WITH MUSIC EDUCATION.
LEARNING DEEPLY AND COMMUNICATE
NON VERBALLY AND BUILDING
MEMORIES.
AS A PEDIATRICIAN, EDUCATOR AND
MUSICIAN I'M GRATEFUL FOR THE
PASSIONATE AND PATIENT MUSIC
TEACHERS WHO EVERY DAY ARE
TEACHING OUR KIDS ACROSS THE
COUNTRY.
TODAY I'M ALSO GRATEFUL TO ALL
OF YOU WHO ARE STUDYING THIS
WORK AND HELPING UNDERSTAND MORE
WHAT MUSIC IS DOING FOR KIDS IN
OUR COMMUNITIES ON A COGNITIVE
AND NEUROSCIENTIFIC LEVEL.
AS CHILDREN STRUGGLE WITH THE
PHYSICALITY OF STRUGGLE WITH AN
INSTRUMENT THEY'RE LEARNING,
RHYTHM, PATTERN, HARMONY, MELODY
AT THE SAME TIME THEY'RE
LEARNING PATIENCE, NON-VERBAL
COMMUNICATION AND COLLABORATIVE
RISK TAKING.
WHEN I WAS A CHILD, MUSIC WAS
WHERE I WENT TO FIGURE STUFF
OUT.
WHEN I WAS HAPPY BUT ALSO WHEN I
WAS SAD AND MAD AT MY MOM I
WOULD GO TO MUSIC.
IT GAVE ME THE SPACE TO THINK,
TO ENGAGE MY MIND IN A WAY WORDS
NEVER COULD.
LATER WHEN I COULDN'T MAKE SENSE
OF A MATH OR SCIENCE PROBLEM I
PRACTICED PIANO AND EVERY ONCE
IN A WHILE THE SCIENCE QUESTION
WOULD ANSWER ITSELF.
BUT IT WAS WHEN I STARTED
PLAYING MUSIC IN HIGH SCHOOL IN
THE HOSPITALS FOR CHILDREN WHO
WERE RECOVERING FROM ORTHOPEDIC
SURGERIES WHEN WE BROUGHT MUSIC
TO THEM AND THEY LEARNED UKULELE
I SAW THE REDUCTION OF PAIN AND
DECIDED TO DEVOTE THE REST OF MY
LIFE TO MUSIC, EDUCATION AND
HEALTH.
IT'S PLAYING MUSIC TOGETHER AND
PLAYING FOR AUDIENCES THIS IS
THE MOST CRITICAL ASPECT, THE
SOCIAL AND EMOTIONAL LEARNING
BRINGS US TOGETHER.
PLAYING MUSIC WITH AND FOR
OTHERS IS A POWERFUL ANECDOTE TO
THE ISOLATION WE'RE SEEING MORE
AND MORE ESPECIALLY
POST-PANDEMIC TO CLOSE I'D LIKE
TO ASK MY DAUGHTER NO LONGER A
SECOND GRADER AND WHO MANY KNOW
FROM THE NEA TO JOIN ME IN
PLAYING A FULLER VERSION OF THE
CHAUPIN VERSION OF FAREWELL THAT
EMBODIES HEALING AND HOPE.
>> GREAT.
I'M GLAD TO SEE YOU AND THE
SESSION WE'RE CO-CHAIRING.
IT'S MY GREAT HONOR AND I'M DANA
SCHLOESSER.
WE HAVE MIRIAM LENSE FROM
VANDERBILT AND STEVEN HOLOCHWOST
FROM LEHMAN COLLEGE AND ASSAL
HABIBI FROM UNIVERSITY OF
SOUTHERN CALIFORNIA AND JOHN
IVERSEN FROM McMASTER UNIVERSITY
AND JENNIFER BUGOS FROM
UNIVERSITY OF SOUTH FLORIDA.
I'D LIKE TO INVITE OUR FIRST
SPEAKER AND WE'LL GET STARTED.
>> HELLO.
IT'S WONDERFUL TO BE HERE AND AN
INCREDIBLE TWO DAYS OF SCIENCE
AND MUSIC.
THIS WILL BE MORE INTERESTING
AND MULTI-MODAL.
I'LL BE TALKING ABOUT MUSIC AND
SOCIAL DEVELOPMENT IN EARLY
CHILDHOOD.
I WANT TO START BY THANKING THE
PARTICIPANTS AND COLLEAGUES AND
THANK MY AND COLLABORATORS AT
THE NIH AND NEA AND NIMHD AND
NICHD AND THROUGH THE SOUND
HEALTH INITIATIVE AND NEA
RESEARCH LAB GRANT.
SO THE SOCIAL ENVIRONMENT IS
REALLY ESSENTIAL FOR SUPPORTING
CHILD DEVELOPMENT AND LEARNING.
AND WE KNOW MUSICAL ENGAGEMENT
IS A UBIQUITOUS PART OF SOCIAL
DEVELOPMENT AND I'LL GIVE
EXAMPLES OF MECHANISTIC WORK IN
SOCIAL COMMUNICATION DEVELOPMENT
IN INFANTS AND TODDLERS AND HOW
WE APPLIED THEM TO DEVELOP
FAMILY AND COMMUNITY-BASED
INTERVENTIONS.
SO CRITICAL TO THE SOCIAL
ENVIRONMENT IS HOW WE INTERACT
WITH OTHER PEOPLE AND COORDINATE
OUR SOCIAL INTERACTIONS WITH
THEM AND KNOW OUR SUCCESS IN
THESE EARLY COORDINATED SOCIAL
INTERACTIONS PREDICTS
ATTACHMENT, COGNITION AND
LANGUAGE.
HOW DO WE DO THIS AND COORDINATE
WITH OTHERS?
ONE CANDIDATE IS RHYTHM AND
RHYTHMIC BEHAVIOR IS PROMINENT
IN INFANT-DIRECTED
COMMUNICATION.
THIS IS FUN LIKE ROULETTE.
THERE'S RIDGE NIM STRUCTURE AND
THERE'S TOUCH AND PHYSICAL
MOVEMENTS, GESTURES ALL OF WHICH
ARE SYNCHRONIZED AND IT
MAINTAINS AND MODULATES INFANT'S
ATTENTION AND THEIR AROUSAL
LEVELS AND THOSE OF THEIR
CAREGIVERS.
SO INFANT-DIRECTED SINGING CAN
PROVIDE A WINDOW INTO SOCIAL
DEVELOPMENT AND THE ROLE OF
RHYTHM.
WE KNOW ENTRAINMENT PROMOTES
SOCIAL BEHAVIOR AND CONNECTION.
WE ASKED IF ENTRAINMENT TO THE
PREDICTABLE RHYTHMIC STRUCTURE
SUPPORTS INFANT'S ATTENTION TO
SALIENT AND MEANINGFUL SOCIAL
INFORMATION PARTICULARLY LOOKING
AT THE CAREGIVER'S EYES.
LOOKING AT SOMEONE EYES HELPS I
NOW WHAT THEY'RE TENDING TO AND
NEURO COUPLING AND WE USE EYE
TRACKING TECHNOLOGY THAT LET'S
US TRACK INFANT'S MOMENT BY
MOMENT'S GAZE WITH SOMEONE
ENGAGING IN SONG AND THE GAZE IS
MO
MODULATED.
DO INFANTS LOOK MORE AT THE EYES
OF A SINGER TIME LOCKED TO THE
RHYTHMICALLY IMPORTANT MOMENTS
OR BEATS OF THE SINGING?
WE STUDIED THIS AT TWO MONTHS OF
AGE.
THAT'S WHEN THEY FIRST
MEANINGFULLY INTERACTING WITH
PEOPLE AND YOU CAN SEE AS EARLY
AS AS TWO MONTHS AND THEY'RE
DOING THEIR OWN RHYTHMIC
BEHAVIORS LIKE BABBLING AND THE
BEAT IS INCREASED AND THERE'S A
FOURFOLD INCREASED IN EYE
LOCKING TO THE BEATS OF THE
SINGING AND THIS WAS EXCITING
AND SUGGESTS SENSITIVITY TO
RHYTHM MAY SUPPORT THE SOCIAL
BEHAVIOR OF EYE LOOKING IN
INFANTS AND THEY DONT LOOK FOR
NO REASON.
THEN WE ASKED WHAT ARE SINGERS
DOING ON THE BEATS?
I'M SURE THIS PERSON IS SUPER
PLEASED ABOUT THE PICTURE AND
THEY'RE INCREASING THEIR
POSITIVE AFFECT AND DECREASING
THEIR NEUTRAL AFFECT AND MORE
LIKELY TO STILL AND INHIBIT
THEIR BLINKING AND TIME LOCKED
TO THE BEATS THE CAREGIVERS ARE
PROVIDING IMPORTANT SOCIAL
EXCUSE.
-- CUES AND AT TWO MONTHS
INFANTS ARE RELIANT ON THE
RHYTHM TO MODULATE THEIR EYE
LOOKING AND DEVELOPMENT THEY
BECOME SENSITIZED AND IF YOU
LOOK AT THE RHYTHMICALLY
ENTRAINED EYE LOOKING AND THE
CAREGIVER'S SOCIAL CUES IT
SUGGESTS THROUGH INTERACTION
INFANTS ARE PROVIDING KEY
OPPORTUNITIES FOR SOCIAL
LEARNING.
WE STUDIED IN NEUROTYPICAL
INFANTS AND WE'VE BEEN FOLLOWING
THIS UP IN AUTISM A
CHARACTERISTIC IS COORDINATION
AND TIMING OF SOCIAL BEHAVIORS.
DESPITE THE DIFFERENCES WE SEE
MANY HAVE MAINTAINED PREFERENCES
FOR RHYTHMIC AND VISUAL STIMULI.
WE DID THE SAME EYE TRACKING
EXPERIMENT AND THEY VIEWED
VIDEOS OF SOMEONE ENGAGING THEM
WITH INFANT DIRECTED SONG.
I CAN SEE IN NON-AUTISTIC
TODDLERS ON THE TOP AND BOTTOM
BOTH ARE EXHIBITING THE
ENTRAINED EYE LOOKING AND
INCREASING THEIR EYE LOOKING
TIME LOCKED TO THE BEAT THOUGH
IT'S REDUCED AND MORE VARIABLE
IN THE AUTISTIC TODDLERS AND WE
MADE IT NO LONGER RHYTHMICALLY
PREDICTABLE AND ENTRAINMENT IS
REDUCED IN BOTH GROUPS WHEN YOU
HAVE PREDICTIVE STABILITY OF THE
STIMULI AND IN AUTISM IT'S
FURTHER REDUCED AND THEY HAD A
REDUCED AND MORE VARIABLE
RESPONSE.
IT SUGGESTS RHYTHM AND
PREDICTABLE RHYTHMS OF MUSICAL
INTERACTIONS CAN PROVIDE A
MECHANISM FOR SUPPORTING SOCIAL
AND COMMUNICATION SKILLS AND
THIS IS SOMETHING WE'RE EXCITED
TO BE FOLLOWING UP NOW IN OUR
R33 CLINICAL TRIAL IN AUTISM
THROUGH THE SOUND HEALTH
INITIATIVE AND IN FUTURE WORK
PLANS.
WE'VE THOUGHT ABOUT
PREDICTABILITY AND OTHER
ELEMENTS IN WAYS THAT MUSIC
REALLY ALIGNS WITH SUPPORTING
SOCIAL COMMUNICATION AND WHAT WE
KNOW MOST ABOUT EVIDENCE-BASED
PRACTICES FOR SOCIAL
COMMUNICATION INTERVENTIONS BOTH
IN GENERAL AS WELL AS IN AUTISM
SPECIFICALLY.
SO OUR PRESS PLAY FRAMEWORK
HIGHLIGHTS THE ROLE OF
PREDICTABILITY AND REINFORCEMENT
OR REWARD PROCESSING AND EMOTION
REGULATION OF SHARED ATTENTION
AND AS WELL AS THAT NATURAL
SOCIAL CONTEXT AS INGREDIENTS
COMBINED AND ALIGNED WELL
BETWEEN MUSICAL EXPERIENCES AND
SOCIAL INTERVENTION.
WHAT'S IMPORTANT IS WHEN WE
THINK ABOUT THESE COMPONENTS
WHEN THEY'RE DEPLOYED DURING
MUSICAL INTERACTIONS THEY WON'T
ONLY IMPACT THE CHILD IMPACT
THEIR PLAY PARTNER SUCH AS THE
PARENT.
WE TALK ABOUT SYSTEMS EARLIER.
AS ONE EXAMPLE OF ONE WAY WE'VE
APPLIED THESE COMPONENTS OF
SHARED ATTENTION WE HAD THEM
SHARE IN PICTURE BOOKS OR SONG
BOOKS AND PARENTS GAZE MORE AT
THEIR CHILDREN DURING SONG
BOOKS.
I DON'T NEED TO LOOK AT THE BOOK
TO SEE WHAT HAPPENS WITH WHEELS
ON THE BUS, THEY GO ROUND AND
ROUND.
THAT'S WHAT HAPPENS.
BUT IT SHOWS YOU JUST BY
SHIFTING THE CONTEXT TO A
MUSICAL CONTEXT YOU END UP
SHIFTING THE SOCIAL ENVIRONMENT
FOR A CHILD BECAUSE YOU'RE NOW
NATURALLY IMPACTING THE RESPONSE
OF THEIR PLAY PARTNER.
IN THIS CASE MAKING THE PARENT
AVAILABLE FOR ANY SOCIAL CUES
THE CHILD PROVIDES BECAUSE
THEY'RE LOOKING AT THEM.
WE'VE ALSO THOUGHT HOW WE CON
TAKE THESE COMPONENTS OF PRESS
PLAY MODEL AND HOW THEY APPLY
BETWEEN AND WITHIN FAMILIES NOW
IN A COMMUNITY SETTING.
WHEN WE WANT TO SUPPORT CHILD
DEVELOPMENT AND CHILD LEARNING
IT'S IMPORTANT TO SUPPORT THEIR
SOCIAL PARTICIPATION AND WHEN
YOU TALK ABOUT LITTLE KIDS LIKE
INFANTS AND TODDLERS, THAT MEANS
SUPPORTING THE SOCIAL
PARTICIPATION OF THE FAMILY MORE
BROADLY.
THE INFANT IS NOT DRIVING OR
TAKING THE BUS ON THEIR OWN.
SOMEONE HAS TO BRING THEM.
YOU HAVE TO SUPPORT THE WHOLE
FAMILY IN HAVING THESE
EXPERIENCES.
WE'VE DESIGNED THE PARENT CLASS
FAMILIES FOR THOSE WITH AND
WITHOUT NEURAL DIFFERENCES LIKE
AUTISM AND THEY LEARN
PARENT-BASED STRATEGIES TO
SUPPORT THEIR USE OF POSITIVE
PARENT STRATEGIES AND PARENT
DISCUSSION AND CONNECTION ALL
WITHIN A MUSIC CLASS FORMAT.
SO WE'VE SEEN POSITIVE EFFECTS
OF THIS CLASS ON FAMILIES'
SOCIAL CONNECTION WITHIN AND
BETWEEN FAMILIES AND PARENTS'
AFFECT REGULATION AND POSITIVE
PARENTING STRATEGIES AND MUSIC
CLASS LET ME SEE THERE'S NOTHING
WE CAN'T DO FROM A FAMILY AND
HIGHLIGHTS MUSIC AS AN
EMPOWERING AND MEANINGFUL
EXPERIENCE AND A WAY TO THINK
HOW MUSIC IS IMPACTING WHOLE
SYSTEMS.
SO IN SUMMARY, OUR NIH HEALTH
WORK AND RESEARCH LAB WORK
ADVANCED OUR UNDERSTANDING OF
THE WAYS MUSIC AND RHYTHM ARE
NATURAL COMPONENTS OF SOCIAL
INTERACTION AND CAN PROVIDE
FOUNDATIONAL OPPORTUNITIES FOR
SOCIAL DEVELOPMENT AND
CONNECTION.
AND MUSICAL EXPERIENCE SUPPORT
CHILDREN AND THEIR CAREGIVERS AS
A PLATFORM AND WHEN WE THINK OF
FUTURE DIRECTIONS FOR RESEARCH I
WANT TO HIGHLIGHT THE SOCIAL
ENVIRONMENT BEING SO CRITICAL
FOR SUPPORTING CHILD LEARNING
AND CHILD DEVELOPMENT WE NEED TO
CONSIDER BOTH THE MECHANISMS AND
IMPACTS OF MUSICAL EXPERIENCES
AT THE LEVEL OF THE CHILD,
FAMILY AND THE COMMUNITY IN
ORDER TO HAVE THE MOST IMPACT.
THANK YOU ALL FOR YOUR TIME.
>> GOOD AFTERNOON.
IT REALLY IS LIKE ROULETTE.
ANY THOUGHTS?
I'M THANKFUL AND HUMBLED TO BE
PART OF THE CONVENING.
I'M STEVEN HOLOCHWOST AN
ASSOCIATE PROFESSOR IN THE
DEPARTMENT OF PSYCHOLOGY AT
LEHMANN COLLEGE PART OF THE CITY
COLLEGE IN NEW YORK.
ONE OF THE BEST PARTS IS RUNNING
THE RESEARCH LAB BY THE NATIONAL
ENDOWMENT FOR THE ARTS I CO-LEAD
WITH MY COLLEAGUES.
THIS AFTERNOON I'M GOING DISCUSS
TWO STUDIES.
ONE FROM THE REACH LAB AND ONE
THAT PREDATE THE LAB BUT ALSO
SUPPORT THE -- SUPPORTED BY THE
ENDOWMENT ONE IS TUNING THE
HEARTSTRINGS AND THERE'S A
COMMUNITY-BASED PROGRAM THAT
OFFERS INTENSIVE MUSICAL
TRAINING TO CHILDREN FROM PRE-K
TO HIGH SCHOOL.
IN OUR PREVIOUS WORK WITH POP WE
FOUND CHILDREN RANDOMLY ASSIGNED
TO PARTICIPATE EXHIBITED BETTER
PERFORMANCE ON MEASURES OF
EXECUTIVE FUNCTIONS, COGNITIVE
CAPABILITIES, ESSENTIAL SCHOOL
READINESS AND SUCCESS AND
STANDARDIZED TEST SCORES.
THE QUESTION WAS WHY?
THE PARASYMPATHETIC SYSTEM IS
BEING THOUGHT OF AS RESTING AND
DIGESTING AND MODULATING
METABOLIC ACTIVITY UNDER A RANGE
OF CONDITIONS INCLUDING NOT
ADVERSIVE BUT ENGAGING OR EVEN
SOMEWHAT CHALLENGING.
AND THAT CERTAINLY DESCRIBE THE
CONDITIONS CHILDREN OFTEN
ENCOUNTER IN THE CLASSROOM
INCLUDING THE EARLY EDUCATION
CLASSROOM AND DATA FROM ANOTHER
STUDY AND KIDS WOULD BOP AROUND
FROM THE PRESCHOOL CLASSROOM AND
TWO CHILDREN PULLED OUT OF OUR
SAMPLE AND ONE THING YOU CAN SEE
IS THERE'S A TREMENDOUS AMOUNT
OF VARIABILITY BOTH BETWEEN AND
WITHIN CHILDREN AND WHAT'S
HAPPENING IN THE SYSTEMS AN
THEY'RE MOVING ACROSS THE
NEUROPHYSIOLOGICAL POSSIBLE
RANGE.
THIS IS ONE SNIPPET.
THIS IS GOING ON ALL THE TIME IN
EDUCATIONAL CONTEXT.
OUR BROAD HYPOTHESIS FOR TUNING
THE HEARTSTRINGS WAS ENGAGING IN
MUSICAL INSTRUCTION DAY AFTER
DAY OR WEEK AFTER WEEK MAY
REFINE OR TUNE THE WAY THEY USE
THE RESOURCES AFFORDED BY THE
PARASYMPATHETIC SYSTEMS AND
EFFICIENTLY USE THEM IN MUSICAL
INSTRUCTION AND NON-MUSICAL
EDUCATIONAL CONTEXTS.
SO WE'RE CURRENTLY IN THE
PROCESS OF TESTING THIS BY
WORKING WITH CHILDREN RANDOMLY
ASSIGNED TO PARTICIPATE IN POP
EARLY AS KINDERGARTNERS OR FIRST
GRADERS.
CHILDREN IN OUR STUDY
PARTICIPATE IN A BATTERY OF
EXECUTIVE FUNCTION TESTS AT THE
BEGINNING AND END OF THE
ACADEMIC YEAR WHERE THEY
PARTICIPATE IN POP OR WOULD HAVE
IN THE CASE OF KIDS ASSIGNED IN
THE CONTROL GROUP AND DURING THE
TASKS WE CONTINUALLY MONITOR THE
PARASYMPATHETIC SYSTEM AND THE
DATA WILL ALLOW US TO TEST OUR
SPECIFIC HYPOTHESIS AFTER A YEAR
OF MUSICAL INSTRUCTION THROUGH
POP CHILDREN EXHIBIT HIGHER
LEVELS OF PARASYMPATHETIC
ACTIVITY WILL BE ASSOCIATED WITH
BETTER PERFORMANCE ON THE TASKS
AS WELL AS IMPROVED GRADES AND
TEST SCORES.
I ASKED OR UNDERSTOOD MY
ASSIGNMENT WAS TO TALK ABOUT THE
CHALLENGES INHERENT IN THE WORK
AND THE BIGGEST CHALLENGE IS
GETTING A CARDIAC MONITOR ON
CHILDREN ATTENDING A SCHOOL RUN
BY NUNS.
WITH YOUNGER CHILDREN AND WHEN
WE DO THE WORK WITH PRESCHOOLERS
WE ASK THEIR PARENTS OR TEACHERS
TO PUT THEM ON AND IT'S NOT HARD
WITH 3-YEAR-OLDS GET TO TAKE
THEIR SHIRTS OFF AND THE
COMPUTER INTERFERES WITH THE
WATCH SIGNALS BECAUSE OF THE
HANDS AND HENCE THE EAR LOBE
PUL
PULSEOMETER AND THERE WAS A
CHANGE IN THE EAR LOBE AND WORKS
LESS WELL THE DARKER THE SKIN
TONE AND ALMOST ALL THE CHILDREN
IN OUR STUDY ARE FROM RACIALLY
OR ETHNICALLY MINORITIZED
GROUPS.
IT LEAVES US WITH THE INGAR
6,000.
A HOMEMADE WEARABLE CARDIAC
MONITOR EMBEDDED IN A SHIRT
CHILDREN CAN THREE TIMES OUT OF
FOUR PUT ON THEMSELVES NOT ON
THE FIRST TRI AND THEY COME OUT
AND ALL WE HAVE TO DO IS ADJUST
THE STRAPS IN THE BACK AND
THEY'RE GOOD TO GO.
IT'S ONE OF THESE MONITORS
DESIGN FOR ATHLETES.
THEY'RE QUITE RESISTANT TO
MOVEMENT ARTIFACTS.
OUR GOAL IS TO LOOK AT THE
LARGER CHANGES WE EXPECT TO SEE
ACROSS THE SCHOOL YEAR WHEN WE
LOOK AT THE BEGINNING OF THE END
OF YEAR ARE A PRODUCT OF MANY
SMALL SCALE CHANGES HAPPENING
DURING THE INSTRUCTION AND WHY
HE'S WEARING THE MONITOR NOT
JUST IN THE CONTEXT OF THE TASK
BUT WHILE DANCING.
MY REACH COLLEAGUE DEMONSTRATED
THAT THIS WAS THE CASE.
THESE LONGER TERM
NEUROPHYSIOLOGICAL CHANGES CAN
DETECTED NOT HERE AND NOW AND
WORKED WITH THE KALEIDOSCOPE
PROGRAM A HEAD START PROGRAM IN
PHILADELPHIA DIRECTED BY A
PANELIST TARRELL DAVIS AND SAID
THEY HAD HIGHER LEVELS OF SCHOOL
READINESS TO HEAD START PROGRAMS
OF COMPARABLE QUALITY INCLUDING
VOCABULARY AND EMOTION
REGULATION.
THE QUESTION IS WHY?
ONE REASON MAY BE PARTICIPATION
IN ARTS INTEGRATED INSTRUCTION
HELPS REGULATE THE ACTIVITY OF
THE HPA AXIS IN CHILDREN AMONG
THOSE WHO IT'S MORE LIKELY TO
HAVE BECOME DYSREGULATED BY
EXPOSURE TO POVERTY AND
ASSOCIATED RISK FACTORS AND
THAT'S WHAT THEY FOUND IN THE
STUDY PUBLISHED IN 2017 CHILDREN
ATTENDING THE KALEIDOSCOPE
PROGRAM EXHIBITED LOWER LEVEL OF
HPA AXIS ACTIVITY AS MEASURED BY
CORTISOL AND THOUGH THERE'S
AFFECTS WERE NOT UNIQUE TO MUSIC
CLASSES CHILDREN DID EXHIBIT
LOWER LEVELS OF CORTISOL WHEN
PARTICIPATING IN THOSE CLASSES
AND THOSE INFORMED THE WORK IN
THE RESEARCH LAB WHICH EXAMINES
THE FACTORS IN MUSIC EDUCATION
THAT MAY LEAD TO THESE EFFECT
AND EARLY MUSIC EDUCATORS MAY BE
A SALIENT FACTOR AND ACTIVITIES
DURING MUSIC AND INSTRUCTION MAY
A
LEAD TO ADDITIONAL REDUCTION IN
HDA ACTIVITIES.
IN A PAPER RECENTLY PUBLISHED WE
REPORTED RESULTS AND TESTED THE
FIRST SET AND FOUND CHILDREN'S
LEVELS OF HPA ACCESS ACTIVITY
WERE LOWER WHEN MUSIC EDUCATORS
GOT OUT OF THE WAY AND ALLOWED
YOUNG CHILDREN TO DIRECT
OPPORTUNITIES IN MUSIC EDUCATION
CLASSES AND WHEN THEY INTERACTED
MORE POSITIVELY WITH CHILDREN
AND IN OUR ANALYSES WE STARTED
TO TRY TO IDENTIFY SPECIFIC
ACTIVITIES INCLUDING SINGING AND
PLAYING INSTRUMENTS THAT ARE
CONSISTENTLY ASSOCIATED WITH
LOWER LEVELS OF HPA AXIS
ACTIVITY.
IN OUR FUTURE WORK WE WANT TO
CONTINUE ALONG THE LINES
DEEPENING OUR UNDERSTANDING OF
THE SPECIFIC ASPECTS OF MUSIC
EDUCATION THAT FOSTER YOUNG
CHILDREN'S SCHOOL READINESS AND
SUCCESS HOWEVER, WE'D LIKE TO
EXPAND THE MECHANISMS TO
ENCOMPASS MULTI-SYSTEMIC
FUNCTION EXAMINING SYMPATHETIC
AND HPA AXIS ACTIVITY.
TO END I'LL THANK CHILDREN AND
FAMILIES.
I BEAT THE SIGN.
GOOD FOR ME.
THANK CHILDREN AND FAMILIES.
OUR PARTNERS PLAY ON PHILLY AND
SETTLEMENT MUSIC SCHOOL AND THE
NATIONAL ENDOWMENT FOR THE ARTS.
THANK YOU.
>> HELLO.
GOOD AFTERNOON.
MY NAME IS ASSAL HABIBI AT THE
BRAIN AND ACTIVITY INSTITUTE
FROM UNIVERSITY OF SOUTHERN
CALIFORNIA.
I'LL TALK ABOUT EXECUTIVE
FUNCTIONS.
STEVEN BRIEFLY TALKED ABOUT
THEM.
THE CONSTRUCT OF EXECUTIVE
FUNCTIONS ARE WORKING MEMORY,
RESPONSE INHIBITION AND TASK
SEARCHING.
I'LL PRESENT DATA SPECIFICALLY
ON WORKING MEMORY AND
INHIBITION.
RESULTS FROM A LONGITUDINAL
STUDY A CROSS-SECTIONAL STUDY
MOVING TOWARDS THE RCT THAT WE
ARE CURRENTLY CONDUCTING.
THIS IS A LONGITUDINAL STUDY
START FROM 2012 PARTLY FUNDED BY
THE NEA.
SEVEN YEARS OF DATA.
WE COLLECTED DATA FROM CHILDREN
IN A MUSIC TRAINING PROGRAM AND
COMPARED THEM TO CHILDREN IN A
GROUP NOT DOING ANYTHING
SPECIFIC MUSIC OR SPORTS.
IT'S NOT A RANDOMIZED CONTROL
TRIAL.
WE RECRUITED CHILDREN TO THE
MUSIC PROGRAM TO THE RESEARCH
AFTER THEY SIGNED UP FOR MUSIC.
HOWEVER, WE DID BASELINE TESTING
AND ESTABLISHED AT LEAST FROM A
STATISTICAL PERSPECTIVE THERE
WERE NO DIFFERENCES BETWEEN THE
GROUPS.
AND I'M OUTLINING THE SCHEDULE
OF TESTING AND WE DID FUNCTIONAL
AND ANATOMICAL MRI AND EEG AND
IT'S TAKES WORK TO KEEP A CHILD
STILL AND THE FUNCTIONAL WORK
EEG AND MRI HAD EMPHASIS ON
EXECUTIVE SKILLS.
I'M GOING TO BE SHARING SOME OF
THAT TODAY.
STARTING WITH WORKING MEMORY IN
THE AUDITORY DOMAIN WE ASKED
CHILDREN TO JUDGE PAIRS OF
MELODIES.
SECOND THE SECOND PAIR IS
DIFFERENT AND SOMETIMES THE
SAME.
IT REQUIRES YOU TO GET THE FIRST
PART IN YOUR WORKING MEMORY AND
COMPARE THE SECOND PART TO IT.
WHAT WE OBSERVED IS AFTER TWO
YEARS OF TRAINING THE CHILDREN
IN THE MUSIC TRAINING PROGRAM
WERE NOT ONLY BETTER AT
DETECTING DEVIATIONS IN THE
RHYTHMIC OR PITCH ENVIRONMENT
BUT AN ELECTROPHYSIOLOGY
PERSPECTIVE THERE WAS A SIGNAL
OF A RESPONSE WHICH INDEXES
ATTENTION TO THE AUDITORY
ENVIRONMENT AND YOU CAN SEE THAT
P3 IN THE TOP ROW YOU'RE LOOKING
AT THE BRAIN FROM THE TOP AND
TOPOGRAPHY OF THE EEG MAPS AND
THAT DOES NOT EXIST IN THE
CONTROL GROUP.
IT SEEMS THERE'S WORKING MEMORY
IN THE AUDITORY DOMAIN.
LOOKING AT DELAYED GRATIFICATION
SO EVERYONE IS PROBABLY FAMILIAR
WITH THE MARSHMALLOW EXPERIMENT.
IT'S TRYING TO SEE IF YOU WANT
TO GET IMMEDIATE REWARD VERSUS
WAITING FOR A BETTER REWARD IN
THE FUTURE AND THE WAY WE
MANIPULATE THIS TASK WE INCREASE
THE SIZE OF THE REWARD.
SO SMALL REWARD NOW, OR SMALL
REWARD IN THE FUTURE, SMALL
REWARD VERSUS A LARGE REWARD IN
THE FUTURE.
AND BASICALLY IT ALLOWS US TO
SEE HOW MUCH YOUR WILLING TO
PLAN YOUR FUTURE AND WAIT.
I WANT TO SHOW YOU THE MUSIC
GROUP IS ON THE LEFT AND YOU CAN
SEE THERE'S A DIFFERENTIATION IN
THE TIME OF WAITING DEPENDING ON
THE SIZE OF THE AWARD.
WHEN THE AWARD WAS SMALL 50% OF
THE TIME WAITED AND 50% OF THE
TIME WANTED THE REWARD IN THE
FUTURE.
WHEN THE SIZE OF THE REWARD IS
LARGE, 100% OF THE TIME THEY
WAITED FOR THE REWARD.
THE CONTROL GROUP WHICH IS ALL
THE WAY TO THE RIGHT DOES NOT
HAVE THIS DIFFERENTIATION.
THESE ARE CHILDREN MATCHED IN
AGE, SOCIO ECONOMIC STATUS AND
SEEMS WE DON'T HAVE THAT SENSE
OF PLANNING FOR THE FUTURE THAT
CHILDREN IN THE MUSIC GROUP DID.
WE ALSO DID INHIBITION TESTING
INSIDE THE SCANNER FOR THOSE
FAMILIAR WITH THE STROOP TASK IS
INCONGRUENT VERSUS CONGRUENT
STIMULUS AND YOU ALWAYS HAVE TO
NAME THE COLOR.
I'M SHOWING THE DIFFERENCE
BETWEEN THE MUSIC AND CONTROL
GROUP AFTER THREE YEARS OF MUSIC
TRAINING IN THE CONTRAST.
AND THESE ARE CLASSIC INHIBITION
NETWORKS OF THE BRAIN AND YOU
CAN SEE IN THE MUSIC GROUP
THERE'S MORE ENGAGEMENT OF THE
EXECUTIVE NETWORK AND SO YOUR
INSULA AND CINGULATE AND THE
PREFRONTAL CORTEX AND IT SEEMS
TO GO AWAY AFTER THREE YEARS OF
TRAINING.
BY THE TIME THEY REACH
ADOLESCENT AGE 10 TO 12 THERE'S
LESS DIFFERENCES BETWEEN MUSIC
AND CONTROL.
THERE'S STILL SOME DIFFERENCES
IN THE RIGHT PART OF THE DORSAL
LATERAL PREFRONTAL CORTEX BUT
THE CONTROL GROUP GETS CAUGHT UP
AND THE MUSIC GROUP REACH IT
EARLIER IN TIME.
I LOOKED AT THAT IN TERMS OF
WORKING MEMORY.
WE PUT THE CONSTRUCTS OF WORKING
MEMORY WE HAD AND EVERY OTHER
WORD YOU CAN MEASURE WORKING
MEMORY AND LOOKED AT IT OVER
TIME AND THE SLOPE IS DEEPEST AT
EARLIER AGE.
IT SEEMS MUSIC TRAINING IS MOST
EFFECTIVE IN AGES 6 TO 10 AND
AFTER THAT LEVELLING OFF.
I'M SHOWING FOR TWO REASONS.
ONLY LONG-TERM DATA ALLOWS US TO
SEE THIS AT 10 AND 12 I WOULDN'T
ABLE TO SEE THIS.
IMPLEMENTING MUSIC TRAINING AND
IT'S MORE EFFECTIVE THAN
BRINGING MUSIC THE POLICY.
THE CHILDREN WE ALSO THINK SOME
OF THE RESULTS WHERE AND THEY'RE
PRIMARILY FROM HISPANIC FAMILIES
OF LOS ANGELES AND WE DID A
CROSS SECTIONAL STUDY AND
THROUGH AN R21 AND OTHERS AND
LOOKED AT MONOLINGUAL CHILDREN
AND BEHAVIORALLY THE CHILDREN
WITH THE MUSIC TRAINING HAD AT
LEAST TWO YEARS OF TRAINING.
THE MUSIC GROUP DID BETTER IN
THE AUDITORY ODD BALL TASK.
NO DIFFERENCES IN THE VISUAL
NO-GO TASK AND SOME DIFFERENCE
MORE ROBUST IN THE AUDITORY
DOMAIN.
THIS IS ERP RESPONSES TO THE
MISTAKE YOU MADE.
IT'S RESPONSE LOCKED AND ERROR
RELATED POSITIVITY.
YOU CAN SEE THERE'S LARGER
AMPLITUDE AND WHEN THEY MADE A
MISTAKE 200 MILLISECONDS AFTER
THEY ARE AWARE AND FOR MUSICIANS
YOU CAN ALMOST FEEL WHEN YOU
PRESS THE WRONG NOTE OR WRONG
STRING.
THERE ARE STUDIES THAT DRAW
ATTENTION RESOURCES POR -- FOR
MUSICIANS AND WE SEE ALLOCATION
OF ATTENTION TO THE STIMULUS OF
INTEREST AND THE AMPLITUDE
CORRELATES IN THE MUSIC GROUP
WITH PERFORMANCE PRACTICING
MUSIC THERE'S ADVANTAGES.
ALL OF THIS HAS LED TO AN RCT.
THE LONGITUDINAL STUDY WAS NOT
AN RCT AND THE CROSS-SECTIONAL
STUDY DID NOT COMPARE THE
COMPATIBLE GROUPS OF CHILDREN IN
THE WAY WE WANTED.
THIS IS A STUDY JOINTLY FUNDED
BY NIH AND NEA AND WE STARTED
BAST LAST YEAR.
WE RECRUITED AND RANDOMLY
ASSIGNED 40 CHILDREN EITHER TO A
MUSIC PROGRAM OR THEATRE
PROGRAM.
AGAIN, THESE ARE CHILDREN FROM
LOW SEC AND HISPANIC BACKGROUND
AND THEY'RE GOING TO THE PROGRAM
THREE TIMES A WEEK AND THEY'RE
IN THE MUSIC PROGRAM THEY'RE
LEARNING VIOLIN AND THEATRE
PROGRAM IS LEARNING BASIC DRAMA.
I DON'T GET TO SEE WHAT THEY'RE
GOING BUT HEAR GOOD THINGS.
THIS IS A PHASED STUDY.
OUR IDEA WAS TO SEE AFTER ONE
YEAR IF YOU RANDOMLY ASSIGN A
6-YEAR-OLD TO MUSIC WOULD THEY
STICK WITH IT AND IF WE MEET THE
FEASIBILITY OUTCOMES
TRANSITIONING TO THE NEXT PHASE
WHERE WE ADD A LARGER COHORT WE
MET THE FEASIBILITY OUTCOMES IN
OUR MUSIC PROGRAM WE HAVE 19 OF
20 KIDS IN THE PROGRAM.
AND I THINK THAT'S COMING BACK
TO POLICY.
IF YOU PROVIDE GOOD MUSIC
EDUCATION OR GOOD ART EDUCATION
AND MAKE IT ACCESSIBLE, EVEN
PARENTS WHO DON'T HAVE ACCESS TO
TRANSPORTATION OR AREN'T VERY
WELL OFF STILL WOULD GO AND
PARTICIPATE.
WE ALSO HAVE A GOOD RETENTION IN
THE CONTROL PROGRAM.
WE'RE HOPING ONCE WE TRANSITION
WE ADD HAVE THE NUMBERS TO GIVE
A FULLY POWERED STUDY TO BE ABLE
TO LOOK AT SPECIFICALLY
EXECUTIVE FUNCTION AND DOING
IMAGING WITH THE STUDIO TO ALLOW
US TO LOOK AT NEURAL MECHANISMS.
SO IN SHORT, SUMMARIZING IT
SEEMS THERE'S SOME ADVANTAGES
WITH MUSIC TRAINING AND
EXECUTIVE FUNCTION AND IN
RELATION TO WHAT I MENTIONED
AFFECTS GOING AWAY, WE HAVEN'T
FOLLOWED THE CHILDREN LONG TERM
MAYBE IF YOU REACHED THE
MILESTONE EARLIER IN TIME
THERE'S BENEFITS IN OTHER PARTS
OF DEVELOPMENT.
MAYBE THERE'S PROTECTIVE AFFECT
AGAINST DYSLEXIA AND AUTISM.
IT'S NEW TO ME.
WE'RE ANALYZING THIS LARGE BODY
OF DATA AND WOULD LIKE TO
DISCUSS IT WITH EVERYONE HERE
MORE.
AND OBVIOUSLY MORE CLARIFICATION
WILL COME FROM THE RCT AND WITH
THEY WANT TO ACKNOWLEDGE ALL THE
CHILDREN IN THE PROGRAM, THREE
OF MY STUDENTS, SARA, PRISCILLA
AND JEN HELPFUL IN ANALYZING THE
DATA AND THE FUNDING AGENCIES
AND SUPPORT.
THANK YOU.
>> HI.
AGAIN, IT'S A GREAT PLEASURE FOR
NOBODY HERE AND BE PART OF THIS.
MY NAME'S JOHN IVERSEN FROM
McMASTER UNIVERSITY AND TALK
ABOUT CHILD AND ADOLESCENTS.
BEFORE I START, THE LAST SEVEN
YEARS HAVE BEEN INCREDIBLE FOR
SO MANY OF US I WANT TO SAY HOW
IMPRESSED I AM FOR THE VISION
PASSION AND EFFECTIVENESS OF OUR
SOUND HEALTH TEAM ACROSS THE
AGENCIES SO THANK YOU VERY MUCH.
HOW CAN WE HELP EACH INDIVIDUAL
AND USE THE SCIENCE TO SUPPORT
RATIONALE IDEAS FOR HOW TO BEST
ACCOMPLISH THIS?
HOW HAVE I APPROACHED THIS?
I APPROACH BY ASKING THE
QUESTION TO DESCRIBE THE
RELATIONSHIP BETWEEN MUSIC,
DEVELOP ENGAGEMENT AND BRAIN AND
BEHAVIORAL DEVELOPMENT IN
CHILDREN.
KNOW, ONE APPROACH IS TO
LEVERAGE EXISTING LARGE SCALE
LONGITUDINAL STUDIES.
THE CONCEPT OF NESTING MUSIC
STUDIES WITHIN EXISTING STUDIES
AS PROGRESSIVE AS MUSIC AND ARTS
FUNDING IS, WE DON'T HAVE YET
THE SORT OF MAGNITUDE OF FUNDING
TO DO MASSIVE LARGE SCALE
STUDIES BUT THE STUDIES DO EXIST
AND IT'S A VERY EXCITING TIME IN
DEVELOPMENT SCIENCE WHERE THESE
LARGE SCALE STUDIES ARE REALLY
TRYING TO DEFINE THE GROWTH
CURVES OF THE BRAIN.
I'VE BEEN UNFORTUNATE TO BE ABLE
TO PIGGYBACK THE WORK ON TWO
SUCH STUDIES.
ONE IS PLAIN, 200 INDIVIDUALS
AND THE ABCD MORE THAN 20 SITES
STUDYING OVER 11,000 CHILDREN
FROM 9 TO 19.
AND WHAT THESE STUDIES HAVE IN
COMMON THEY ALL HAVE A RICH
CHARACTERIZATION OF BRAIN,
BEHAVIOR, GENETICS AND
LONGITUDINALLY AND OUR ROLE OR
OUR ADDITION TO THIS HAS BEEN TO
TRY TO ENRICH THE STUDIES WITH
AS MUCH AS DETAIL ABOUT MUSIC
AND ARTS AS POSSIBLE.
IN THE CASE OF PLAYING I WAS
INVOLVED IN DESIGNING THAT SO
WE'RE ABLE TO ADD DETAILED
MUSICAL ASSESSMENTS.
IN THE CASE OF ABCD THERE'S
INFORMATION ABOUT THIS.
SO AGAIN, THE GROWTH CURVES,
HARD TO MAKE OUT BUT IT'S A
CORTICAL AREA ON THE Y AXIS
VERSUS AGE IN YEARS.
AND HOPEFULLY YOU CAN MAKE OUT A
GENTLE CURVE AND RISE AND PEAK
AND PLATEAU.
AND NOW THESE STUDIES PLAYING
HAS CONTRIBUTED THE BLUE LINES
WHEN SHOWED THE TRAJECTORY OF
INDIVIDUALS LONG THE GROWTH AND
PARALLELS THE AVERAGE.
ABCD IS MUCH LARGER AND SO MUCH
DATA JUST LOOKS LIKE A BLUE
SMUDGE WHICH IS INCREDIBLE.
THAT'S 11,000 TRAJECTORIES OF
CORTICAL DETAIL AND YOU SEE
AGAIN IT FOLLOWS THE SAME
TRAJECTORY AND YET THERE'S SO
MUCH INDIVIDUAL VARIATION AND
SEEING HOW IT LEADS EACH
INDIVIDUAL TO WHO THEY ARE AND
TO COMPLEMENT THE LARGE
OBSERVATIONAL AND CORRELATIONAL
STUDIES WE'RE DOING SMALLER
SCALE STUDIES I'M KOL COME TO
AT THE END AND THERE'S A
QUESTIONNAIRE THAT ASKS ABOUT
MANY ACTIVITIES AND HAS
INFORMATION ABOUT THE INTENSITY
OF THE ACTIVITY AND THE CONTEXT
IN WHICH IT'S OCCURRING.
ONE FINDING IS MUSIC IS THE MOST
HIGHLY ENDORSED ACTIVITY AT
BASELINE 39% OF CHILDREN
ENDORSED DOING MUSIC.
WE LOOK AT ACTIVATION AMONGST
ACTIVITIES.
WHAT IS HAPPENING WITH MUSIC?
WE HAVE A DISTRIBUTION OF
STARTING AGES.
THE PLOT SHOWS HOURS PER WEEK
AND THE FIVE TIME POINTS THAT
EXIST AND IT'S GRADUALLY
TRENDING UP AND BECOMING A
HEAVIER TAIL.
THIS PLOT IS SHOWING TIME POINT
BY TIME POINT THE NUMBER OF
ENDORSEMENTS FOR MUSIC.
IT'S A COMPLICATED PATTERN.
EVERYTHING IN RED ARE PEOPLE
DOING MUSIC AT THE BEGINNING AND
SEE SOME CONTINUE AND SOME START
AND STOP AND SO FORTH.
EVEN THOUGH THIS IS A
CORRELATIONAL STUDY WITHOUT
EXPERIMENTAL DESIGN WE HAVE
INFORMATION ABOUT STARTING AND
STOPPING OF MUSIC WE CAN USE WE
HOPE.
CONTEXT IS INTERESTING.
MOST OF THESE CHILDREN HAVE DONE
MUSIC IN SCHOOL.
WE'VE BEEN ABLE TO ADD QUESTIONS
ABOUT USING MUSIC WHILE STUDYING
AND AS THIS PLOT SHOWS LISTENING
TO MUSIC FOR THE PURPOSE OF
EMOTIONAL REGULATION.
IN PINK YOU CAN SEE YEAR 13 OR
14 AND WE SEE BY AGE 14, 25% OF
THE PARTICIPANTS USE MUSIC FOR
EMOTIONAL REGULATION.
I'LL GO THROUGH THE RESULTS
QUICKLY.
THE POINT IS TO ILLUSTRATE THE
TIMES OF QUESTIONS AND THE
ULTERIOR MOTIVE IT'S ALL OPEN
DATA.
WE'RE TRYING TO ADD INFORMATION
ABOUT MUSIC.
YOU CAN ADD WHATEVER QUESTION
YOU HAVE AND THIS TOP ROW SHOWS
A MEASURE OF FLUID INTELLIGENCE
AND THE SECOND ROW IS
CRYSTALLIZED MORE FACTS AND
KNOWLEDGE.
THE COLUMNS ARE FOUR ACTIVITIES,
ARTS, MUSIC, SOCCER AND SPORTS.
WE'RE LOOKING AT ENGAGEMENT AND
EACH BLOCK SHOWS THE ADDITIONAL
INFORMATION THAT WAS ADDED TO
INTELLIGENCE BY PARTICIPATION IN
THE ACTIVITIES.
THE RED COLOR INDICATES A
POSITIVE ASSOCIATION BETWEEN ALL
THE ACTIVITIES BETWEEN ARTS AND
MUSIC.
IT'S IMPORTANT TO LOOK AT THE
STARS WHICH INDICATE THE
SIGNIFICANCE OF THESE.
MUSIC AND ARTS ARE ASSOCIATED
WITH FLUID AND CRYSTALLIZED
INTELLIGENCE.
ANOTHER MEASURE IS TO LOOK AT
CORTICAL EXPANSION.
THE CORTEX IS A MAP AND DON'T
ALL GROW AT THE SAME RATE AND
CORRELATE THAT WITH MUSIC
EXPERIENCE AND THESE HOT-COLORED
AREAS ARE THOSE IN WHICH THE
CORTEX EXPANDS AS A MUSIC
EXPERIENCE AND COMPARE THEM TO
FLUID AND CRYSTALLIZED
INTELLIGENCE AND SEE
SIMILARITIES CRYSTALLIZED.
WE CAN LOOK AT USING DIFFUSION
IMAGING AND MEASURE OF THE
MICROSTRUCTURAL DEVELOPMENT OF
THE DIFFERENT REGIONS OF THE
CORTEX.
THE ONE AREA WE SHOWED IN A
MEASURE WITH THE DENSITY OF
TISSUE AND CELLS WITHIN THAT
AREA IS DORSAL LATERAL
PREFRONTAL CORTEX WITH WORKING
MEMORY AND IT'S SIGNIFICANT.
AND IN THE STUDY WHERE WE HAVE
MORE DETAILED MUSICAL PHENOTYPES
WE CAN LOOK AT VARIOUS TEST OF
RHYTHM.
RHYTHM PRODUCTION AND PERCEPTION
AND LOOKING AT THOSE AS THE
VOLUME OF THE MOTOR AND
PRE-MOTOR CORTEX.
AND WE FIND A POSITIVE
CORRELATION THERE.
NOT JUST FOR RHYTHM AND
PRODUCTION AS YOU MIGHT EXPECT
BUT RHYTHM PERCEPTION.
THIS RELATES TO THEORIES I AND
OTHERS HAVE IN FACT WE MENTIONED
THIS MORNING ABOUT MIMI ABOUT
THE ROLE OF THE MOTOR SYSTEM IN
SHAPING AUDITORY PERCEPTION AND
PRODUCTION.
FINALLY, WE HAVE THIS ENRIMMENT
PROGRAM FUNDED BY THE NEA --
ENRICHMENT FOR TK CHILDREN.
THIS IS A SLIGHTLY DIFFERENT
TAKE ON WHAT MUSIC CAN US.
WE FOUND AN EXPECTED CORRELATION
BETWEEN PERFORMANCE ON VARIOUS
ACADEMIC TASKS AND NUMBER SENSE
AND VOCABULARY AND WITH SES.
FOR ONE OF OUR MUSIC MEASURES
WHICH IS A PITCH ACCURACY
MEASURE OF THE SINGING
INTERVENTION, WE FOUND NO
CORRELATION WHICH IS
INTERESTING.
WE TEND TO THINK OF HOW DOES
MUSIC CORRELATE WITH ACADEMIC
ABILITIES.
THIS MAY BE SUCH A LOW LEVEL
THING THAT IT DOESN'T.
BUT THE IMPORTANT THING AND THE
EXCITING THING FOR OUR EDUCATOR
PARTNERS IS THAT THIS GIVES US
ANOTHER DIMENSION OF SKILL
THAT'S NOT ASSESSED GENERALLY IN
SCHOOL.
SO TO THEM IT'S VERY EXCITING
THAT THEY CAN LOOK AT KIDS WHO
MAY BE STRUGGLING IN SCHOOL AND
SEE THEY'RE A GREAT SINGER AND
THIS IS SOMETHING WE CAN
ENCOURAGE AND NURTURE.
AGAIN, JUST A PLUG FOR THIS IDEA
OF NESTING AND INVITATION TO
LOOK AT THE DATA.
MEANT ON THE IMPORTANCE OF THE
EXPERIMENTAL STUDIES.
FINALLY SOMETHING WE STILL WANT
TO DO IS INCREASE THE AMOUNT OF
INFORMATION ABOUT MUSIC
PHENOTYPES WITHIN ABCD.
THAT WAS THE FOURTH AIM OF MY
RO1 AND WE'VE DEVELOPED THESE
TESTS SO THE NEXT STEP IS TRY TO
INTEGRATE THEM AS AN INTEGRAL
POINT OF ABCD.
THANK YOU.
>> GOOD AFTERNOON.
I'M JENNIFER BUGEOS AND I LOOK
AT MUSIC EDUCATION TRAINING AND
PSYCHOSOCIAL OUTCOMES IN AGING.
WE LOOK AT COGNITIVE SENSORY AND
OLDER PROCESSES AND I'LL
HIGHLIGHT THE CURRENT RESEARCH
AS WELL AS THE INGREDIENTS OF
THE SUCCESSFUL COGNITIVE
TRAINING INVENTION THROUGH MUSIC
EDUCATION PROGRAMS AND ALSO THE
RESULTS OF A RANDOMIZED CONTROL
TRIAL CONDUCTED IN OUR LAB.
MUSIC EDUCATION REFERS TO THE
ACT OR PROCESS OF ACQUIRING
KNOWLEDGE AND SKILL GAINED
THROUGH EDUCATIONAL PROCESSES
TRANSFER MORE BROADLY.
THIS DIFFERS FROM MUSIC THERAPY
AND THE GOALS TO TARGET THE USE
OF MUSIC TO TREAT SYMPTOMS OF A
DISEASE OR DISORDER AND OFTEN
TAILORED TO INDIVIDUAL GOALS AN
AND MUSIC EDUCATION INTERVENTION
MAY BE SCALABLE AND USED FOR
HEALTHY AND CLINICAL POPULATIONS
AS WELL.
I'LL TALK ABOUT THE STATE OF THE
ART WE'VE BEEN DISCUSSING IN
MATERIALS OF MUSIC TRAINING
INTERVENTIONS THE INGREDIENTS OF
AN EFFECTIVE INTERVENTION AND
RANDOMIZED TRIAL AND FUTURE
RESEARCH WE'RE CONDUCTING.
ALL RIGHT.
SO WHAT WE DO KNOW ONE KEY
THREAT TO COGNITION AS WE AGE
ARE DEFICITS IN EXECUTIVE
FUNCTIONS.
OF COURSE THAT'S BEEN REFERRED
TO BY A COUPLE UP HERE AS WELL
AND BROAD RANGE OF WORKING
MEMORY AND PROCESSING SPEED AND
EXECUTIVE FUNCTION CONTRIBUTE TO
COGNITIVE RESERVE AND BRAIN IS
FORCED TO DEVELOP NEUROCOGNITIVE
STRATEGIES THOSE REQUIRED BY
COMPLEX INSTRUMENTAL
PERFORMANCE.
THROUGH SCAFFOLDING TASKS BECOME
MORE ACHIEVABLE.
ON THE SLIDE YOU MIGHT SEE DATA
SUGGEST DELAYED ONSET OF
COGNITIVE DECLINE BY BUILDING
COGNITIVE RESERVE.
WE DON'T HAVE A COMPREHENSIVE
THEORY AS OF YET WHAT MAKES AN
EFFECTIVE AND SUSTAINABLE
COGNITIVE INTERVENTION AND
HERE'S KEY INGREDIENTS FROM THE
LITERATURE THAT SEEM TO BE
EMPIRICALLY IMPORTANT FOR
BUILDING APPROPRIATE COGNITIVE
INTERVENTIONS.
ONE IS HAVE TASK NOVELTY.
THERE'S BEEN RESEARCH SUGGESTING
THE OLDER ADULTS ENGAGED IN
NOVEL TASKS TEND TO HAVE HIGHER
LEVELS OR HIGHER VOLUMES OF
CORTICAL AND SUBCORTICAL VOLUMES
AND WE KNOW BY MANUAL
COORDINATION DEVELOPING BIMANUAL
COORDINATION THROUGH MUSIC
SKILLS CAN TRANSFER TO COGNITIVE
PERFORMANCE AND THE DIFFICULTY
OF AN INTERVENTION IS VERY
IMPORTANT AS WELL AS HAVING A
PRACTICE ELEMENT.
THIS IS ESSENTIAL IN TERMS OF
BUILDING COGNITIVE PERFORMANCE
OVER TIME AND ALSO IN
ESTABLISHING SELF-EFFICACY WHICH
CONTRIBUTES TO COGNITIVE
PERFORMANCE.
ANOTHER ASPECT IS THE SOCIAL
ELEMENT OF PARTICIPATING IN A
MUSIC EDUCATION PROGRAM AND IT
CONTRIBUTES TO SELF EFFICACY AND
THE IMPORTANCE OF HAVING AN
ECOLOGICALLY VALID TRAINING
PROGRAM IS SUPER IMPORTANT.
OLDER ADULTS WANT TO PLAY HAPPY
BIRTHDAY OUT OF A STUDY FOR
THEIR GRANDCHILDREN OR PLAY AT
THE CHURCH WHEN FINISHED WITH
THE STUDY AND THE OPPORTUNITY OF
LIFE LONG MUSIC IS A SUPER
IMPORTANT SKILL THAT CAN LAST A
LIFE TIME.
THERE WAS A TRAINING STUDIO
SHOWING DIFFERENCES IN COGNITION
IN HEALTHY OLDER ADULTS AND WE
LOOKED AT PIANO TRAINING ADULTS
AND COMPARED THEM TO A
NO-TREATMENT GROUP AND MEASURED
SUSTAINABILITY AFTER A
THREE-MONTH FOLLOW-UP TIME
POINT.
AND WE FOUND SIGNIFICANTLY
ENHANCED PERFORMANCE ON DIGIT
CODING WITH VISUAL SPATIAL
PROCESSING AND DECREASED TIME TO
A MEASURE OF PROCESSING SPEED
EVEN AFTER WE SUB STRIKTRACTED E
COMPONENT.
WE SEE THE DIFFERENCE OVER THREE
TIME POINTS AS COMPARED TO OUR
CONTROLS.
AND WE ALSO LEARNED SOMETHING
IMPORTANT FROM THE STUDY, OLDER
ADULTS PREFER TO HAVE A
GROUP-MUSIC INTERVENTION OVER AN
INDIVIDUAL INTERVENTION.
SO WE SAW THE BENEFITS FROM
ADDING MUSIC OR HAVING A MUSIC
SUSTAINABILITY INTERVENTION THAT
SHOWED SUSTAINABILITY.
AND WE WANTED TO MAKE MORE
RIGOROUS
INTERVENTIONS-GROUP-BASED
INTERVENTIONS FOR OLDER ADULTS.
THIS LED TO INTENSE-BASED
STUDIES WITH TRAINING THREE
HOURS PER DAY AND OTHER STUDIES
FOUR TO SIX MONTHS LONG.
I'LL DESCRIBE A FEW REPRESENTED
UP HERE.
WE FOUND HEALTHY OLDER ADULTS
RANDOMLY ASSIGNED TO FOUR MONTHS
OF GROUP PIANO TRAINING
DEMONSTRATED INCREASED SIN
CRONIZATION OF THE HANDS AND --
SIN SYNCHRONIZATION OF THE
HANDS AND AFTER A TWO-WEEK
CONTROL PERIOD AND OF INTENSE
PIANO TRAINING.
AND WE SEE IMPAIRING OCCURRING
AND I NOTICED FROM NOT ONLY MY
RESEARCH BUT FROM OTHER RESEARCH
WE HAD LIMITATIONS TO ADDRESS.
AND SOME INCLUDED LACK OF
MEASURES IN THE TRAIN DOMAIN.
LACK OF MEASURES IN THE MUSICAL
DOMAIN.
WITHOUT THESE HOW DO WE KNOW
MUSIC EDUCATION ACTUALLY
OCCURRED?
AND WHAT DEGREE OF SKILL OR
KNOWLEDGE GAINS ARE REPRESENTED
IN THE PROGRAM?
WE SHOULD BE ABLE TO DESCRIBE
THE PROGRAMS WE'RE TALKING ABOUT
IN DETAIL.
SO THESE CAN BE REPLICATED.
RESEARCH LACKS THE APPROPRIATE
TRAINING TO GENERALIZE COGNITION
IN SEVERAL STUDIES AND NECESSARY
TO UNDERSTAND THE DOSAGE AFFECTS
IN AGING SPECIFICALLY.
THERE'S A NEED FOR STANDARDIZED
OR MANUALIZED MUSIC CURRICULUMS
USED ACROSS SITES.
AND THERE'S A NEED TO HAVE
STUDIES THAT INCLUDE ACTIVE AND
PASSIVE CONTROL GROUPS AND A
NEED FOR COGNITIVE MEASURES TO
LOOK AT ACROSS STUDIES.
THE PEOPLE WITH THE
INTERVENTIONS SHOULD BE DESIGN
AND IMPLEMENTED BY LICENSED
MUSIC EDUCATORS WHO HAVE
KNOWLEDGE ABOUT MUSIC PEDAGOGUES
AND APPROACHES TO TEACHING MUSIC
EDUCATION.
IT'S NOT A ONE-SIZE-FITS-ALL.
EVERYTHING INVOLVED IN THE
TRAINING INTERVENTION MATTERS.
IT MATTERS WHETHER THERE'S
CREATIVITY OR NOT CREATIVITY
INVOLVED.
SOME OF OUR NEURAL OSCILLATORY
FINDINGS SHOW THAT.
I'LL GIVE AN OVERVIEW QUICKLY OF
A RANDOMIZED CONTROL TRIAL
CONDUCTED IN OUR LAB AND I WANT
TO THANK THE NATIONAL ENDOWMENT
FOR THE ARTS FOR FUNDING THE
STUDY.
THE AIM WAS TO EVALUATE THE
IMPACT OF GROUP PIANO TRAINING
ON EXECUTIVE FUNCTIONS AND
PSYCHOSOCIAL OUTCOMES IN OLDER
ADULTS 60 TO 80.
THEY WERE TESTED WITH THREE HOUR
BATTERY OF NEURAL COGNITIVE
MEASURES AND EXECUTIVE FUNCTION
MEASURES AS WELL AS WE ALSO
MEASURE MOTOR MEASURES AND
SALIVARY CORTISOL, ETCETERA.
THEY WERE REPEATED AFTER 16
WEEKS OF TRAINING.
TRAINING WAS TWICE A WEEK FOR 90
MINUTES AND THEY WERE RANDOMLY
ASSIGNED TO EITHER THE COMPUTER
BRAIN TRAINING PROGRAM OR THE
NO-TREATMENT GROUP.
THEY COMPLETED A BATTERY OF
MEASURES AND THERE WAS A
THREE-MONTH DELAY AND WE LOOKED
AT SUSTAINABILITY AFTER THREE
MONTHS.
THESE WERE ALL HEALTHY OLDER
ADULTS WITH LESS THAN THREE
YEARS OF FORMAL MUSIC TRAINING,
NOT READING MUSIC OR ENROLLED IN
ANY MUSIC PROGRAMS.
WITH RECRUITED 34 OLDER ADULTS
AND OF THOSE 155 WERE ELIGIBLE
AND STRINGENT CRITERIA FOR
ENTRANCE IN OUR STUDIES AND WE
MEASURED THEIR ABILITY TO READ
MUSIC.
PEOPLE CAN'T JUST -- PEOPLE TRY
TO SELF-REPORT TO ENTER IN THE
STUDY.
SOME WERE OVER QUALIFIED.
155 WERE ELIGIBLE AND SOME WERE
ASSIGNED TO BRAIN TRAINING AND
THERE WERE TRANSPORTATION ISSUES
OR FAMILY ILLNESS OR NEED TO
FIND CHILDCARE WAS A FACTOR IN
ATTRITION.
WHILE THIS MAY NOT SEEM
INTERESTING WE ADD AN INCREASE
IN READING PERFORMANCE FOR THE
PIANO TRAINING GROUP AND WHAT
SKILLS ARE WE TEACHING AND HOW
ARE WE MEASURING THOSE SKILLS?
WE DO SEE A DIFFERENCE WIN THE
PIANO TRAINED GROUP AS COMPARED
TO THE OTHER TWO GROUPS.
WE ALSO SEE A SIGNIFICANT
INCREASE IN VERBAL SKILLS IN
VERBAL INFLUENCE THE ABILITY TO
GENERATE WORDS AND THOSE TESTS
STANDARDIZED TEST USED TO
MEASURE VERBAL INFLUENCE ARE
TIME AND THERE'S A PROCESSING
ELEMENT TO THOSE AS WELL AND WE
SEE A SIGNIFICANT DIFFERENCE IN
VERBAL MEMORY PERFORMANCE.
THE ABILITY TO RETAIN WORDS OVER
A PERIOD OF TIME.
WE THINK IT'S PROMISING.
THESE ARE PROMISING RESULTS AND
ONE OF THE MAIN AREAS WE SEE
THESE INCREASES PARTICULARLY IN
VERBAL INFLUENCE I SHOULD SAY IS
THE ABILITY TO SWITCH BETWEEN
CATEGORIES.
WHICH IF YOU THINK ABOUT WHAT WE
DO WHEN WE'RE LEARNING A MUSICAL
INSTRUMENT WE'RE SWITCHING
BETWEEN SO MANY DOMAINS AND
LEARNING TO READ MUSIC AND USE
OUR FINGERS AND MOTOR CONTROL
AND AUDITORY SYSTEMS ALL SYSTEMS
ARE BEING INTEGRATED.
ANOTHER INTERESTING FINDING I'D
LIKE TO POINT OUT IS THE
INDIVIDUALS WHO DEMONSTRATED THE
MOST GAINS IN THE PROGRAM IN
COGNITIVE PERFORMANCE ARE THOSE
HAD THE LOWEST SCORES ON MOCA AT
BASELINE ON THE MONTREAL
COGNITIVE ASSESSMENT.
THIS SUGGESTS THOSE WITH LOWER
COGNITIVE BENEFIT WILL BENEFIT
AND THE WAY WE CONDUCT GROUP
PIANO TRAINING IS NOT YOUR
TYPICAL PIANO LESSON.
WE CONDUCT IT AS AN ENSEMBLE AND
IT'S MANUALIZED AND IT'S
IMPORTANT BUT NOT LIMITED TO THE
MUSIC TRAINING OR EDUCATION
LITERATURE OR RESEARCH.
IT'S SOMETHING WE SEE A LOT IN
THE GERONTOLOGICAL LITERATURE
AND PEOPLE SCORING LOWER AT THE
LOWER HAVE THE MOST GAINS WITH
THE INTERVENTION.
WE LEARNED PIANO INSTRUCTION MAY
ENHANCE SKILL IN OLDER ADULTS
PARTICULARLY GENERATING WORDS
AND MEMORY RETAIN WORDS.
THERE'S BENEFITS BOTH TO MUSICAL
SELF-EFFICACY AND GENERAL
SELF-EFFICACY AFTER GROUP PIANO
TRAINING BUT WE FOUND THIS IN
OTHER STUDIES WITH SINGING
INSTRUCTION AND DIFFERENT THAN
GETTING TOGETHER AND SINGING IN
A CHOIR BUT LEARNING HOW TO SING
AND RESULTS REMAIN PROMINENT IN
THE FACE OF COMPUTER BRAIN
TRAINING WE USED POSIT SCIENCE
AS OUR PARTICULAR CONTROL
CONDITION WE SEE ACTIVE CONTROL
CONDITIONS FOR INTENSE STUDIES
AND THOSE 4 TO 6 MONTHS WITH THE
DOSAGE OF TWICE A WEEK FOR 90
MINUTES AND MEASURING DOSAGE ON
A MORE REGULAR LEVEL WITH A
SERIES OF STUDIES UNDERWAY IN
THE COGNITION AND COORDINATION
ACROSS THE LIFE SPAN LAB CALLED
THE CALM LAB SPONSORED BY THE
NATIONAL ENDOWMENT FOR THE ARTS
IN WHICH WE'RE EVALUATING
COORDINATION AND GROSS MOTOR AND
FINE MOTOR AND OTHER LEARNING
TASKS.
TO DETERMINE DOSAGE FOR POSITIVE
PSYCHOSOCIAL OUTCOMES AND MOTOR
OUTCOMES.
I'D LIKE TO THANK THE NATIONAL
ENDOWMENT FOR THE ARTS FOR THEIR
SUPPORT AND THE PARTICIPANTS WHO
CONTRIBUTED TO THE SUCCESS OF
THE PROJECTS AND THANK YOU FOR
YOUR ATTENTION.
I APPRECIATE IT AND I KNOW I'M
THE LAST SPEAKER OF THE DAY.
I APPRECIATE YOUR TIME.
THANK YOU.
>> HI, EVERYONE.
I'M HONORED TO BE HERE AND ON
BEHALF OF US IN SESSION 3 HOW
IMPORTANT IT IS AND HOW EXCITED
WE ARE THAT EDUCATION IS BEING
CONSIDERED PART OF THE HEALTH
ISSUES BEING DISCUSSED TODAY.
I WANT TO INTRODUCE OUR
PANELISTS.
INDRAY VISKONTAS AND THALIA
GOLDSTEIN CO-DIRECTOR OF AN NEA
RESEARCH LAB AT GEORGE MASON
UNIVERSITY AND MAUD HICKEY AFROM
NORTHWESTERN UNIVERSITY.
TARRELL DAVIS FROM THE SETTLE
MANY MUCHG SCHOOL -- MUSIC
SCHOOL AND VICTOR MINCES AT THE
UNIVERSITY OF CALIFORNIA SAN
DIEGO AND PART OF A MUSIC
EDUCATION PROGRAM SPONSOR THE
NATIONAL MUSIC EDUCATION AND KEN
IN ELPUS AND DIRECTOR OF AN NEA
RESEARCH LAB.
THANK YOU.
>> WITH THE WORLD'S SONG BOOK AT
OUR FINGER TIPS AND THE CATALOG
IN THIS LITTLE DEVICE WHY SHOULD
WE TOLERATE THE SQUEAKY SOUNDS
OR USE TAXPAYER DOLLARS IN
PUBLIC SCHOOLS.
THE BENEFIT IS IN THE PROCESS
NOT IN THE FINAL PRODUCT.
MUSIC EDUCATION GIVES KIDS THE
SKILLS TO GET THINGS DONE.
THE THINGS THEY'LL USE WHATEVER
IT IS THEY CHOOSE TO DO, GRIT,
DISCIPLINE, GROWTH MIND SET,
EXECUTIVE FUNCTIONING.
OKAY, YOU CAN GET THOSE FROM
SPORTS OR DIFFERENT LANGUAGE.
IT HELPS BABIES COMMUNICATE.
IT HELPS PRESCHOOLERS COOPERATE.
LITTLE KIDS RECOGNIZE EMOTIONS.
TEACHER REPORT MORE SOCIAL
COHESION IN THE CLASSROOM AND
MORE POSITIVE ATTITUDES.
KIDS WHO DO THE LEAST IN
ACADEMICS HAVE THE BIGGEST
IMPROVEMENTS.
TEENS SHOW LIST RISKY BEHAVIORS
LIKE ALCOHOL USE COMPARED TO
PEERS LARGELY INVOLVED IN
SPORTS.
THEY'RE ALSO MORE LIKELY TO SAY
THEY LIKE SCHOOL.
THEY'RE MORE LIKELY TO HAVE A
HIGHER GPA IN THE 12th GRADE AND
ATTEND COLLEGE FULL TIME.
HIGH SCHOOLERS SAYING BEING IN A
MUSIC ENSEMBLE HELPS GAIN
CONFIDENCE BECAUSE EVERY PLAYER
IN THE BAND MATTERS.
YOU MATTER.
A KEEPS KIDS IN SCHOOL
DECREASES DELINQUENCY AND IF YOU
INCLUDE HIGHER EARNINGS AND
LOWER MEDICAID SOFT THE NET
SOCIETAL GAIN IS ABOUT HALF A
MILLION DOLLARS FOR TURNING A
HIGH SCHOOL GRADUATE TO A
SCHOLAR AND IF ONE HIGH SCHOOL
STUDENT GRADUATE THE NET GAIN IS
10 YEARS OF A MUSIC TEACHER'S
SALARY.
IF IT'S ABOUT MONEY, MUSIC SAY
SOUND INVESTMENT.
-- IS A SOUND INVESTMENT.
>> THANK YOU, THAT'S AN
INCREDIBLY HARD ACT TO FOLLOW
AND AN APPRECIATE IT SO MUCH.
TODAY I WANT TO REMIND US OF
SOME CRITICAL COMPONENTS WHEN
WE'RE TALKING ABOUT MUSIC AND
EDUCATION OR THE ARTS AND
EDUCATION THAT ARE OFTEN LEFT TO
THE SIDE AS WE THINK ABOUT
STATISTICAL RIGOR, EXPERIMENTAL
RIGOR AND LAB-BASED RESEARCH.
THE FIRST THING I WANT TO REMIND
US OF IS THAT MUSIC DOES NOT
JUST HAPPEN IN THE LAB.
MUSIC PARTICULARLY MUSIC FOR
CHILDREN HAPPENS IN A VARIETY OF
CONTEXTS.
THIS DOESN'T JUST INCLUDE
SCHOOLS EITHER WHERE CHILDREN
ARE GETTING FORMAL EDUCATION IN
MUSIC AS PART OF THEIR LARGER
ACADEMIC PROGRAM.
IT ALSO INCLUDES MUSIC IN SUCH
PLACES AS SUCH AS WHEN THEY'RE
WALKING THROUGH THE SHOPPING
MALL AND HEARING MUSIC IN
DIFFERENT STORES AND DIFFERENT
STORES HAVE DIFFERENT MUSICAL
ENVIRONMENTS MEANT TO INTRODUCE
THEM TO THE MOOD OR ATTITUDE
THEY'RE SUPPOSED TO HAVE WHILE
SHOPPING.
THIS ALSO INCLUDES MUSIC AT HOME
AND THE VARIETY OF WAYS IN WHICH
CULTURES AND THE MICROSYSTEM OF
THE FAMILY ENVIRONMENT INFLUENCE
THE KIND OF LEARNING THAT
PARENTS LISTEN TO.
I HAVE MANY MEMORIES OF THE
MUSIC MY MOTHER PLAYED IN THE
VOLVO SEDAN AS WE DROVE AROUND
SUBURBAN MARYLAND.
TODAY WE HEARD A LOT ABOUT
BRAIN-BASED CHANGES AS WELL AS
COGNITIVE-BASED CHANGES.
BUT WHEN WE TALK MUSIC AND
EDUCATION FOR YOUNG CHILDREN,
IT'S THE SOCIAL AND EMOTIONAL
SKILLS THAT LAY THE GROUND WORK
FOR LATER COGNITIVE GAINS.
IF A CHILD DOESN'T HAVE A CLOSE
EMOTIONAL RELATIONSHIP WITH
THEIR TEACHER, THEY'RE UNLIKELY
TO LEARN ANYTHING FROM THAT
TEACHER.
IF A CHILD FEELS FEAR OR
DISCOMFORT WHEN THEY'RE IN AN
AFTER-CARE ENVIRONMENT OR HOME
ENVIRONMENT, THEY'RE UNLIKELY TO
BE ABLE TO MAKE MANY COGNITIVE
GAINS WHILE IN THAT ENVIRONMENT.
WE NEED THE SOCIAL AND EMOTIONAL
BONDING BEFORE WE CAN THINK WITH
THE COGNITIVE AND ACADEMIC
GAINS.
AND THE LAST COMPONENT I WANT TO
POINT OUT IS THE COMPONENT OF
THE BODY.
OFTEN WHEN WE TALK ABOUT MUSIC
THERE'S AN ELEMENT OF PASSIVE
SITTING IN THE AUDIENCE AND
LISTENING AND ENJOYING THAT KIND
OF MUSIC ABUT FOR CHILDREN THE
BOD -- BUT FOR CHILDREN THE BODY
AND MUSIC ARE INTERTWINED.
YOU CAN'T SEPARATE THEM.
THEY'LL MOVE TO MUSIC EVEN WHEN
YOU TELL THEM TO BE STILL AND
THREATEN THEM WITH NO DESSERT
AND WHY WE DON'T TAKE THEM TO
OPERAS BECAUSE THEY'RE TOO BUSY
BOUNCING AROUND IN THEIR SEATS.
IN MY GROUP WE'VE SHOWN THE
CONNECTION BETWEEN EMBODIMENT IN
AND THROUGH MUSIC AND A VARIETY
OF KINDS OF SOCIAL AND EMOTIONAL
OUTCOMES.
I THOUGHT I'D BE ABLE TO SEE MY
SLIDES SO I APOLOGIZE FOR MY
CONSTANT MOVEMENT OF TURNING
AROUND.
FOR EXAMPLE, TOGETHER WITH
INJURY, OUR LABS ARE WORKING ON
AN OPERA ON PLAYGROUND STUDY
LOOKING AT ELEMENTARY SCHOOL
KIDS USING THEIR PLAY GROUNDS AS
THE VAST SETTINGS FOR WHICH
OPERAS CAN TAKE PLACE AND
LOOKING AT HOW THAT MIGHT
IMPROVE THEIR EMPATHY AND
UNDERSTANDING OF EACH OTHER IN
THAT GROUP.
WE'VE SHOWN FOR MINORITIZED
STUDENTS ENGAGING IN THE
MARCHING BAND AND ARTS
INCREASING THEIR SELF EFFICACY
FOR THEIR BELONGING AND THE
SCHOOL AT LARGE.
WE'VE DONE STUDIES ON MUSICAL
THEATRE AND HOW THAT CAN
INCREASE 21st CENTURY SKILLS
SUCH AS CREATIVITY,
COLLABORATION AND EMPATHY AND
UNDERSTANDING FOR THE CHARACTERS
ON STAGE AND HOW IT RELATES BACK
TO THEIR OWN LIVES.
FINALLY DANCE AND RHYTHMIC
MOVEMENT AND HOW IT CAN HELP
WITH THE ABILITY TO READ THE
MOTIONS OF SOMEBODY ELSE WHICH
COME THROUGH BOTH THE FACE AND
THE BODY.
TAKEN TOGETHER I URGE ALL THE
SCIENTISTS AND MUSICIANS IN THE
ROOM TO KEEP IN MIND THE VARIETY
OF CONTEXTS THAT MUSIC EDUCATION
TAKES PLACE IN, THE VARIETY OF
SOCIAL AND EMOTIONAL SKILLS
NECESSARY TO SET THE GROUND WORK
FOR COGNITIVE GAINS AND DON'T
FORGET THE BODY.
THANK YOU.
>> HI, THANK YOU.
I'LL DESCRIBE FIRST A RESEARCH
STUDY THAT I COMPLETED WHICH
INVOLVED MUSIC MAKING WITH YOUTH
IN A DETENTION CENTER AND FOLLOW
WITH THE RESULTS OF A LITERATURE
REVIEW THAT POINTS TO THE POWER
OF MUSIC FOR DETAINED YOUTH.
I COMPLETED THIS LONG-TERM
QUALITATIVE STUDY AT NORTHERN
WESTERN UNIVERSITY AT THE CENTER
WITH CIVIC ENGAGEMENT AND THE
CHICAGO TRUST.
I EXAMINE THE EFFECT OF A MUSIC
PROGRAM ON INCARCERATED YOUTH 12
TO 18 DETAINED AT A LARGE
JUVENILE DETENTION CENTER IN
CHICAGO.
THE THEORETICAL FRAME WAS BASED
ON POSITIVE YOUTH DEVELOPMENT
WHICH POSITS POSITIVE APPROACHES
ARE MORE EFFECTIVE FOR IMPROVING
MENTAL HEALTH AND STOPPING
NEGATIVE BEHAVIOR AND REDUCING
RECIDIVISM AND PARTICIPANTS
COMPOSED THEIR OWN RAP MUSIC AND
COLLECTED COMMENTS AND ANALYZED
THE RESULTS USING QUALITATIVE
CONTENT ANALYSIS.
YOU SEE THE SEVERAL THEMES THAT
EMERGED FROM THE ANALYSIS.
THE MOST PREVALENT BEING
POSITIVE FEELINGS AND COMPETENCE
WHICH COMES FROM THE POSITIVE
YOUTH DEVELOPMENT FRAMEWORK.
THE SECOND SIDE SHOWED RESULTS
AS THE COMPREHENSIVE LIT REVIEW
EXAMINING THE RESEARCH ON
POSITIVE AFFECTS OF MUSIC IN
JUVENILE DETENTION SETTINGS.
I LOOKED AT REVIEWS THAT SERVED
YOUTH AND IN WHICH MUSIC WAS THE
MAIN ART FORM.
I GROUPED THEM IN THE CATEGORIES
WITH THE SIZE RELATED TO THE
NUMBER OF FINDINGS.
AND AS YOU CAN SEE THE
PSYCHOLOGICAL BENEFITS OF MUSIC
WITH INCARCERATED YOUTH WAS THE
MOST PREVALENT AND MUSIC CAN BE
ONE OF THE MOST POWERFUL WAYS.
HOWEVER THERE'S MORE WORK
SPECIFICALLY RIGOROUS RESEARCH
TO BE DONE WITH THIS YOUNG AND
OFTEN INVISIBLE GROUP
INCARCERATED ACROSS THE UNITED
STATES AND THE WORK NEEDS TO BE
DONE TO FOLLOW THROUGH WITH
BETTER AND MORE POSITIVE
OUTCOMES.
THANK YOU.
>> THANK YOU ALL FOR YOUR HARD
WORK.
I'M NOT A RESEARCHER.
I'M AN EDUCATOR AND ALL THE WORK
YOU DO IS VITAL FOR THE END OF
MY FIELD.
I'M HERE TO TALK ABOUT A PROGRAM
NEAR AND DEAR TO MY HEART.
KALEIDOSCOPE ARTS ENRICHMENT
PROGRAM IN PHILADELPHIA, PA
STARTED IN 1990 A FULLY
INTEGRATED ART PROGRAM THROUGH
VISUAL MOVEMENT AND ART AND
MUSIC.
WE SERVE 90% HEAD START ELIGIBLE
FAMILIES.
WE SERVE 115 CHILDREN ANNUALLY
EACH YEAR AND RECEIVED SOME
AWARDS.
WE RECEIVED THE AWARD PRESENTED
BY HILLARY CLINTON AND RECEIVED
THE HIGHEST RATING AND
NATIONALLY ACCRED ED --
ACCREDITED BY THE NATIONAL
ASSOCIATION OF EDUCATED CHILDREN
AND ALL THE ATTRIBUTES AND
ACCOLADES ARE AMAZING
ACCOMPLISHMENTS BUT ALL WE
LEARNED FROM THE RESEARCH WE
BELIEVE WE CAN DO MORE.
KWEST IS OUR INTEGRATED MODEL WE
BELIEVE WE CAN SHARE AND SCALE
SUCCESSFULLY NATIONWIDE.
THE RESEARCH SHOWED POWERFUL
COMPONENTS THAT WE PLAN TO
CAPTURE INTO THIS MODEL.
ONE BEING SCHOOL READINESS.
WE HEARD A LOT ABOUT SCHOOL
READINESS AND OUR CHILDREN HAVE
SHOWN THEY HAVE INCREASED
RECOGNITION AND RETENTION AND
VOCABULARY SKILLS AND THIS IS
KEY FOR CHILDREN FROM
DISADVANTAGE AND BLACK AND BROWN
CHILDREN AND THOSE WHO LEARN
DIFFERENTLY AND CAN EVEN THE
PLAYING FIELD AND WHEN YOUR NOT
WORRIED ABOUT YOUR FINANCES YOU
CAN FOCUS BETTER AND CHILDREN
HAVE STRESS BUT DON'T KNOW HOW
TO EXPRESS IT AND GIVING THEM AN
OPPORTUNITY TO PARTICIPATE IN
ART INTEGRATION AND THEIR
CORTISOL LEVELS ARE LOWER AND
THEY'RE ABLE TO FOCUS AND THAT'S
ABOUT WHAT WE WANT AND SOCIAL
AND EMOTIONAL SKILLS WHEN
THEY'RE ABLE TO MANAGE THEIR
EMOTIONS, EXPRESS HOW THEY FEEL
AND ABLE TO MAKE DEEPER
CONNECTIONS WITH OTHER CHILDREN
AND ADULTS AND THAT'S IMPORTANT.
THIS IS A PROGRAM AND ALSO LESS
PRONE TO SUSPENSION AND
EXPULSION AND THIS A PROGRAM FOR
THE WHOLE CHILD TO CLOSE THE
LEARNING GAP.
THANK YOU FOR ALL YOU DO BECAUSE
I BELIEVE THE ARTS CAN CHANGE
THE FACE OF EDUCATION WITHOUT
DATA IT'S A STRUGGLE SO THANK
YOU ALL.
>> I WISH I COULD LEAVE IT AT
THAT.
A LOT OF THE CONVERSATION ON
SCIENCE ON SOUND AND MUSIC AND
EDUCATION CENTERS ON CURING BUT
ANOTHER WAY OF LOOKING AT IT IS
THINKING WHAT WOULD HAPPEN IF
YOU WERE DEPRIVED OF MUSIC.
BOTH MAKING IT AND LISTENING.
I KNOW AT LEAST IN MY CASE AND
LIKELY OTHER PEOPLE WOULD SUFFER
A LOT IN THAT CONTEXT.
THAT SOUNDS LIKE A HORRIBLE
EXPERIMENT BUT THAT IS THE
EXPERIMENT THAT WE HAVE BEEN
DOING IN SCHOOLS.
SO THAT'S WHY IT'S IMPORTANT TO
UNDERSTAND WHAT MUSIC CAN DO IN
THE CONTEXT OF THE SCHOOLS.
I WAS UNFORTUNATE TO BE
CONTACTED WITH MY GRADUATE
ADVISER AND WE STARTED WORKING
ON UNDERSTANDING THE AFFECT OF
MAKING MUSIC IN SCHOOL AND IN
SYNCHRONIZING WITH MUSIC FROM
INDONESIA PUTTING EMPHASIS ON
INTRAPERSONAL RHYTHMIC
CONNECTIONS.
AND THOSE WHO CAN BETTER
SYNCHRONIZE WITH THEIR PEERS
WORK BETTER ACCORDING TO THEIR
TEACHERS.
WORKING IN SCHOOLS I REALIZED
THERE'S SO MANY THINGS WE KNOW
THAT ARE GOOD IN EDUCATION AND
GOOD FOR COGNITION THAT ARE NOT
REACHING SCHOOLS EVEN THOUGH
THEY'RE VERY WELL ESTABLISHED.
SO IT WAS FRUSTRATING FOR ME AND
I STARTED THINKING HOW TO BRING
MUSIC TO SCHOOLS AND IN A WAY I
STARTED THINKING MORE
POLITICALLY AND STARTED BRING
THE SENSE OF MUSIC TO SCHOOLS IN
THE FORM OF OUTREACH HAVING
CHILDREN LEARNING ABOUT
VIBRATIONS AND FREQUENCIES BY
PLAYING WITH SOUND AND MAKING
MUSICAL INSTRUMENTS AND I
CREATED THE PROGRAM LISTENING TO
WAVES.
IT'S NOW REACHING THOUSANDS OF
CHILDREN.
AND I HOPE MY EXPERIENCE -- I
THINK OUR DUTY IS NOT ONLY -- MY
DUTY IS NOT ONLY TO THE BASIC
BUT THINK HOW TO MAKE MUSIC
REACH CHILDREN WHERE THEY ARE
AND PLEASE CHECK WEBSITE BECAUSE
OUR WEB APPLICATIONS ARE SUPER
FUN.
THANK YOU.
>> I DON'T KNOW IF ANY AGENCY
OFFICIAL HERE BUT THE NATIONAL
FOUNDATION SUPPORTS WORK.
>> THANK YOU.
SO BEFORE I START I WANTED TO
SAY I'M ABSOLUTELY DELIGHTED TO
BE HERE TODAY PARTICULARLY AS A
MUSICIAN EDUCATION RESEARCHER
WITH MORE OF A SOCIAL SCIENCE
ASPECT.
I STARTED AS A MUSIC TEACHER AND
STARTED IN THE DATA LAB AT NEA
RESEARCH LAB IN SCHOOLS AND I
MADE A TON OF CONNECTIONS
BETWEEN THE RESEARCH IN MUSIC
EDUCATION AND THE RESEARCH AND
WITH-DR. EARHART'S WORK THE
CONCEPT OF MENTAL SINGING HAS
RICH LITERATURE IN MUSIC
EDUCATION.
WE CALL THAT CONCEPT AUDIATION.
THOSE LITERATURES AREN'T IN
CONVERSATION WITH EACH OTHER
BECAUSE WE APPROACH THEM FROM
DIFFERENT VOCABULARIES EVEN.
I'M GRATEFUL TO PLAY IN BOTH
POOLS TODAY.
I MADE A CONNECTION WITH
DR. BUGOS' WORK AND HER NEA LAB
IS CALLED THE CALM LAB AND MINE
IS CALLED THE MAD LAB AND I HOPE
THAT'S NOT TOO REVEALING.
THERE IT IS.
WHENEVER YOU TAKE AWAY FROM THE
WORK I WANT TO SHARE ONE
TAKEAWAY FROM A LOT OF SOCIAL
SCIENCE WORK AND MUSIC EDUCATION
I'VE DONE AND THAT'S MUSIC
EDUCATION IN THE AMERICAN PUBLIC
SCHOOLS IS NOT AN EQUITABLY
DISTRIBUTED RESOURCE.
I WORKED WITH THE NATIONAL
CENTER FOR EDUCATION STATISTICS
AND THE ASSESSMENT OF
EDUCATIONAL PROGRESS AND MOST
STUDIES CONSISTENTLY SHOW
AMERICAN SOCIETY DENIES THE
BENEFITS TO BLACK AND BROWN
CHILDREN AND CHILDREN TO POORER
FAMILIES AND THOSE SCHOOLS WHO
HAVE LEARN DIFFERENCES AND THOSE
ATTENDING SMALLER SCHOOLS AND
CHARTER SCHOOLS.
THESE CHILDREN DO NOT HAVE THE
SAME ACCESS TO MUSIC EDUCATION
IN SECONDARY SCHOOL AS THEIR
PEERS AND THAT'S UNCONSCIONABLE
IN AMERICAN SOCIETY AND I WORK
TO TRY TO FIX.
THESE ARE THREE QUICK LINKS TO
STUDIES.
ABOUT ONE-THIRD OF KIDS DO
GRADUATE STUDIED AT LEAST ONE
YEAR OF MUSIC AND IF WE BELIEVE
IN THE SOCIAL BENEFITS WE NEED
TO BECOME FIERCE ADVOCATES FOR
RECTIFYING THAT ISSUE.
THANKS.
>> THANK YOU TO OUR SPEAKERS AND
PANELESTSS -- PANELISTS FOR YOU
REMARKS.
WE START OFF WITH A QUESTION
ADDRESSED TO MIRIAM AND MAUD AND
HOW CAN WE BUILD CAPACITY AT THE
INTERVENTION IN PARTICULAR HOW
CAN WE RESEARCH BETTER
CHARACTERIZE AND OPTIMIZE THE
SOCIAL AND EMOTIONAL BENEFITS
THAT HAVE BEEN ASSOCIATED WITH
MUSIC EDUCATION?
>> SO I WORKED WITH THREE
DIFFERENT MUSIC EDUCATION
PROGRAMS IN LOS ANGELES.
THE COLE BURN SCHOOL OF MUSIC
EDUCATION AND L.A. PHIL AND
CONSERVATORY AND I THINK GOING
INTO THE MUSIC PROGRAMS AND
ASKING THEM WHAT IS LACKING AND
WHAT WE CAN STUDY BUT ALSO
ACCEPTING WE'RE WALKING INTO
THIS AS AN INVESTIGATOR AND
MAKING THE RELATIONSHIP THE IDEA
IS FOR US TO BETTER UNDERSTAND
WHAT CAN BE MORE EFFECTIVE.
WHAT DOSAGE OF MUSIC TRAINING OR
WHAT AGE OF CHILDREN SO I THINK
A LOT OF RELATIONSHIP BUILDING
AND UNDERSTANDING THEIR NEEDS SO
THE RESEARCH QUESTIONS CAN BE
BUILT AROUND THE QUESTIONS THAT
THEY HAVE.
>> STEVEN.
>> THANKS.
JUST TO BUILD ON WHAT ASSAL
SAID, THE WORK I'VE DONE I'M
MOST PROUD OF IS WORK I DIDN'T
REALLY COME UP THE RESEARCH
QUESTIONS PER SE.
THE FOLKS WHO RUN PLAY ON PHILLY
AND THEY SAID WE'RE INTERESTED
IN EXECUTIVE FUNCTION THAT WAS
15 YEARS AGO AND WHO LET YOU
KNOW THAT TERM I WAS KIND OF
SCANDALIZED.
I DO REALLY THINK THAT MUSICIANS
AND MUSIC EDUCATORS KNOW A LOT
AND I THINK IN MY EXPERIENCE
THEY'RE GENERALLY THOUGHTFUL AND
VERY SMART PEOPLE AND REALLY
THINKING WITH THEM ABOUT WHAT
THE RESEARCH QUESTIONS ARE OR
SHOULD BE IS THE WAY TO GO.
AND BUILDING ON THAT OFTEN WE
IMMEDIATELY GO TO WHAT ARE THE
OUTCOMES WITHOUT THINKING MAYBE
AS MUCH AS WE SHOULD ABOUT
PROCESS AND PART IS SOMETHING
JENNIFER REFERENCED WHICH IS IF
WE BELIEVE MUSIC EDUCATION
YIELDS THESE BENEFITS AT LEAST
ON SOME LEVEL THE BENEFITS ARE
BEING MEDIATED OR CARRIED BY
WHAT CHILDREN LEARN THROUGH AND
ABOUT MUSIC.
I THINK A LOT OF TIMES WE CAN
SKIP OVER THOSE OUTCOMES AND
IT'S PROBABLY AN OVERSIGHT ON MY
PART.
>> WHAT I HAVE TO ADD IS
DIMINISHING QUICKLY.
IN OUR WORK WE FOCUSSED ON
MUTUAL RESPECT BETWEEN THE
COMMUNITY AND RECOGNIZING HOW
MUCH EDUCATORS AND WISDOM THEY
HAVE.
THERE'S BEEN TOO MUCH OF A
TRADITIONAL OF TOP-DOWN SCIENCE
RESEARCH IN SCHOOLS.
SO REALLY FOCUSSING ON GIVING
BACK.
ONE WAY WE DO THAT IS WE HAVE A
MONTHLY TEACHER RESEARCHER
COLLABORATIVE MEETING.
SO BASICALLY IT TAKES A LONG
TIME TO LEARN TO SPEAK EACH
OTHER'S LANGUAGE.
AND I THINK A REAL COMMITMENT
TOE THAT INVESTMENT IN THAT IS
REALLY IMPORTANT.
WHERE DOES THE SUPPORT FOR THAT
COME FROM IS AN INTERESTING
QUESTION.
WE HAD A SUPERINTENDENT WHO
THOUGHT PUTTING MY ARRESEARCHERN
A FULL OF SIGN TCIENTISTS IS A
THING.
>> DITTO, DITTO, DITTO AND
CONTINUE THE DIMINISHING RETURNS
THOUGH WHAT YOU SAID WAS
WONDERFUL.
AND ADDING THE DIVERSITY OF
VOICES WE HEARD HERE TODAY AND
THE VARIETY OF RESEARCH WE'VE
HEARD AND THE VARIETY OF
PROCESSES AND HOW THE RESEARCH
CAN BE APPROACHED AND THE
DIFFERENT MODELS FOR
PARTNERSHIPS AND VARIETY OF
OUTCOME MEASURES.
BUILDING OFF THIS PUSH TO GO TO
THE ULTIMATE OUTCOME AND I THINK
EVEN THAT QUESTION OF IS THAT
ULTIMATE OUTCOME IS A HUGE ONE
AND SCHOOL ATTENDANCE.
I'M IN THE AN EDUCATOR BUT I'M A
CLINICIAN AND CLINICAL
PSYCHOLOGIST.
THE NUMBER ONE THING IF YOU WANT
TO GET BETTER IN AT AN
INSTRUMENT OR LEARN COPING
SKILLS YOU NEED TO PRACTICE AND
DO IT.
THE IDEA OF MUSIC IS GETTING
PEOPLE IN THE DOOR CAN BE AN
OUTCOME MEASURE IN AND OF ITSELF
AND YOU CAN ADD TO ARE THERE
BENEFITS TO THE PROCESS AND
WHERE THE DIALOGUE THAT HELPS
YOU UNDERSTAND WHAT'S THIS
LOOKING LIKE IN THE SCHOOL
SETTING AND WHAT MATTERS TO THIS
COMMUNITY IS A WAY WE CAN BEST
PARTNER TO ADVANCE THE WORKS OF
WHAT IS MOST IMPACTFUL.
>> WONDERFUL.
WE HAVE QUESTIONS FROM THE
AUDIENCE.
>> THANK YOU.
I'M WONDERING WITH ALL THE LAB
AND SCIENTIFIC APPROACH BASED
APPROACH TO MUSICAL EDUCATION
HOW TO INCORPORATE THE FACT THAT
OUR KIDS LISTEN TO MUSIC ALL THE
TIME WHICH WE DON'T WANT THEM TO
LISTEN BUT THEY DO IT AND MY
DAUGHTER WAS 8 YEARS OLD AND SHE
WOULD LISTEN TO MUSIC I WOULDN'T
KNOW AND MAYBE IT'S MAYBE THE
LYRICS THEY'RE ATTRACTED TO BUT
IT COMES WITH MUSIC.
HOW DO YOU IN YOUR
INTERPRETATION ACCOUNT FOR THIS
WHEN WE DON'T KNOW WHY THEY
LISTEN FOR.
>> I'D LIKE TO TAKE THAT.
>> THANK YOU, JENNIFER.
>> SHE WAS WANTING TO SAY
SOMETHING.
>> THANK YOU SO MUCH FOR THE
QUESTION.
I'VE TAUGHT MUSIC EDUCATION FOR
A NUMBER OF YEARS AND KNOW WHAT
YOU'RE TALKING ABOUT.
IN TERMS OF VALIDATING WHAT THE
CHILDREN ARE LISTENING TO AND
EXPOSING THEM TO A RICH VARIETY
OF MUSIC AROUND THE WORLD IS AN
IMPORTANT THING AND IMPORTANT TO
LEARN ABOUT OTHER CULTURES
THROUGH MUSIC AND WE DO THIS ALL
THE TIME AND PART OF OUR
CURRICULUM IN MUSIC EDUCATION
AND ONE OF THE BENCHMARKS FOR
LEARNING DIFFERENT PARTS OF
CURRIC
CURRICULUM AND LEARNING THROUGH
INTERPRETATIONS AND MUSICAL
STYLES.
SO I THINK WHAT WE KNOW FROM THE
RESEARCH AND PSYCHOLOGICAL
RESEARCH IS MORE THEIR EXPOSED
TO DIFFERENT STYLES THE MORE
THEY'RE ABLE TO BECOME MORE
FAMILIAR WITH THE FORMAL
ELEMENTS OF MUSIC AND MELODY,
RHYTHM, HARMONY FORM AND TEACH
THEM TO LISTEN TO THOSE AND BE
MORE CRITICAL LISTENERS BECAUSE
WHEN THEY GROW OLDER THEY'LL BE
CONSUMERS WHETHER THEY LISTEN OR
ENGAGE IN MUSICAL EXPERIENCES.
>> I WANT TO ADD SOMETHING.
LISTENING TO MUSIC IS TO THE
WORLD OF MUSIC IS SAME AS
SPORTS.
PLAYING AND LISTENING ARE VERY
DIFFERENT THINGS.
ANOTHER THING IS PART OF THE
MUSIC EXPERIENCE IS LISTENING TO
THE MUSIC YOUR MOM DOESN'T WANT
YOU TO LISTEN.
I WAS GRATEFUL I COULD DO IT.
>> I WANTED TO ADD AN IMPORTANT
DEVELOPMENTAL MILESTONE TO HIT
IS THIS AUTONOMY FROM YOUR
FAMILY AND SENSE OF PERSONAL
IDENTITY AND PARTICULARLY FOR
PRETEENS AND YOUNG ADOLESCENTS
IT'S IMPORTANT TO HAVE
CONNECTION WITH YOUR PEERS THAT
IS SEPARATE FROM CONNECTION FROM
YOUR FAMILY AND THAT PREDICTS
ALL POSITIVE SOCIAL OUTCOMES
GOING FORWARD.
ONE OF THE WAYS KIDS DO THAT IS
TO HAVE A SHARED MUSICAL
LANGUAGE THEY'RE PARENTS DON'T
UNDERSTAND AND SO TO BE ABLE TO
FIND THAT AND COMMUNICATE ABOUT
THAT IS AN IMPORTANT DEVELOPMENT
MILESTONE FOR KIDS.
>> I WANTED TO ADD TO THAT --
OKAY.
AS A PEDIATRICIAN I'M SEEING
MOST MY KIDS ARE TEENAGERS NOW
AND COLLEGE STUDENTS AND I THINK
IT IS VALID FOR THEM TO BE
LISTENING TO THEIR OWN MUSIC BUT
ALSO INTERESTINGLY AT HARVARD
I'M TEACHING A ROLE ON THE ROLE
OF MUSIC AND EDUCATION AND
HEALTH AND MY STUDENTS ARE
REALLY PLAYING DIFFERENT
INSTRUMENTS SOME ARE DEEJAYS NOW
AND TO HEAR THEY FEEL VALIDATED
THAT THOSE ARE INCLUDED IN THE
MUSICS THAT WE'RE STUDYING AND
THAT THEY'RE ALLOWED TO ENGAGE
IN.
I THINK THAT'S AN IMPORTANT
THING BECAUSE WE ALWAYS THINK
ABOUT THE YOUNG ARTIST AND THE
6-YEAR-OLD ALL ARE ARTISTS BY
THE TIME THEY GET TO 10th GRADE
THEY SAY I CAN'T DO ART.
THAT'S BECAUSE SOMETHING IN OUR
SCHOOL SYSTEM HAS TAKEN THAT
AWAY FROM THEM.
SIMILARLY WITH MUSIC, THE MORE
WE CAN GIVE OPPORTUNITIES TO
EMBRACE MUSIC IN EVERY SINGLE
SETTING THE MORE THEY'LL FEEL
THEY ARE MUSICIANS OR CAN
CONTINUE TO FOLLOW THAT FIELD
EVEN AFTER THEY'VE GRADUATED.
>> THANK YOU SO MUCH.
IS YOU GUYS HAVE BEEN FANTASTIC.
THIS QUESTION WE'LL SAY IS A BIT
DIRECTED TOWARDS INDRAY
VISKONTAS.
A LOT OF WHAT I DO IS FOCUSSED
ON COMMUNITY ENGAGEMENT AND
DURING THE PANDEMIC AT ITS PEAK
WE HAD TO STRATEGIZE HOW TO TO
GET THE MESSAGE OUT ABOUT THE
VACCINES AND WE WENT TO UNION
HALLS AND HOUSING UNITS AND
SCHOOLS AND WHEN WE LOOKED AT
DATA SOME CAUGHT US OFF GUARD
LIKE UNION HALLS AND CERTAIN
SCHOOLS AND WHAT WE FOUND IS WHY
DO THOSE SOCIAL NETWORKS WORK
AND OTHERS DIDN'T IT WAS A
POST-BAC WAS TRYING TO
UNDERSTAND WHAT MADE THE
CULTURES UNIQUE WAS MUSIC.
THE SOCIAL COHESION THAT IS SO
STRONG WITH THESE INNATE ADULTS
AND THEY TRUST ONE ANOTHER AND
MUSIC'S THERE.
THE UNION HALLS HAVE A SONG THEY
SING THAT BRING THEM TOGETHER.
THE LOCAL PAINTERS AND PLUMBERS
WOULD DO TO UNITE EACH OTHER AND
THE SCHOOLS WITH AN ANTHEM,
HIGHER VACCINATION RATES.
WHAT WAS UP WITH -- THIS IS NOT
SOMETHING I WAS EXPLORING AND
THE SONGS STICK AND WITH.
>> FROM THE BIOLOGICAL
PERSPECTIVE THERE'S MECHANISMS
BY WHICH THIS SOCIAL COHESION
CAN HAPPEN.
AND THERE'S A ROLE IN BEAT SIN
-- SYNCHRONY AND BOUNCING THE
BABY WITH THE MUSIC SHOWS MORE
SOCIAL BEHAVIORS AND THERE'S A
RELATIONSHIP WITH LEVELS OF
OXYTOCIN.
WE CAN GET DOWN TO THE
NEUROCHEMICAL LEVEL AND SHARED
MUSIC MAKING THAT FORMS
ATTACHMENT AND THERE'S A DOWN
SIDE.
OXYTOCIN LEVELS ALSO MAKE YOU
MORE AGGRESSIVE TO PEOPLE YOU
FEEL ARE THREATENING YOUR LOVED
ONES AND WHY PEOPLE SAY I DON'T
JUST LOVE X GENRE OF MUSIC.
THEY HATE IT BECAUSE THEY MADE
AN ASSOCIATION WITH A
THREATENING STIMULUS BECAUSE I
ASSOCIATE IT WITH A GROUP
THREATENING MY LOVED ONES.
THERE'S AN A SOCIAL SIDE AND
MORE AS THALIA WAS SAYING IN
TERMS OF HOW WE IDENTIFY
OURSELVES AND FIGURE OUT WHO WE
ARE.
I THINK ONE OF THE THINGS WE
LOSE IS SOMETIMES IN THE PROCESS
OF DOING SOMETHING HARD,
LEARNING A MUSICAL INSTRUMENT
STRUGGLING WITH FIGURING OUT THE
HUNDRED PAGE VOTING GUIDE AND
THAT WORK IS THE WORK WE ARE
DOING TO FIGURE OUT WHO WE ARE.
FIGURING OUT WHICH BAND YOU'RE
GOING TO BOND WITH YOUR FRIENDS
ON HELPS YOU FIGURE OUT WHAT
YOU'LL VALUE AS A PERSON AND
WHAT'S IMPORTANT TO YOU.
IT DOESN'T SURPRISE ME WE UPDATE
THE WHITE PAPER AND I'LL LOOK
THAT UP AND IF IT'S REAL WE CAN
INCLUDE IT.
THE IDEA THAT YEAH, I CAN
TOTALLY SEE AND THIS IS ONE OF
THE REASONS WHY I THINK
VACCINATION CAMPAIGNS ARE
SUCCESSFUL WHEN THEY BROUGHT ON
BY CELEBRITY MUSICIAN.
WHEN YOU THINK ABOUT THE BIG IN
THE AIDS MOVEMENT AND ALL THESE
BIG WAYS IN WHICH PUBLIC HEALTH
HAS BEEN WRITTEN ON THE SOLDIERS
OF GIANT MUSICIANS IF YOU'RE A
MUSICIAN WHEN RENE FLEMING TOLD
ME TO DO SOMETHING I DO IT.
I'M A HUGE FAN.
YOU FEEL LIKE YOU WANT TO BE
CLOSE TO THAT PERSON YOU ADMIRE
BECAUSE YOU ASSOCIATE YOUR OWN
IDENTITY AND VALUE STRUCTURE
WITH WHAT THEY'RE DOING.
>> SO TRADITIONALLY ACADEMICS
TEND TO HAVE THESE VERY NARROW
SILOS WITHIN WHICH THEY WORK.
FOR ALL OF US HERE THE WORK WE
DO IS DONE BY A LOT OF PEOPLE.
THERE'S MUSIC EDUCATORS.
THERE'S PSYCHO THERAPISTS, MUSIC
THERAPISTS AND THERE'S COGNITIVE
PSYCHOLOGISTS.
PEOPLE WHO STUDY DANCE.
DANCE IS DEPENDENT ON MUSIC AND
WITHIN THE PSYCHOLOGY
NEUROSCIENCE, SOCIAL PSYCHOLOGY
AND COGNITIVE NEUROSCIENCE AND
COGNITIVE PSYCHOLOGY AND
CLINICAL PSYCHOLOGY.
ALL OF US PUBLISH IN DIFFERENT
JOURNALS AND HAVE DIFFERENT
CONFERENCES.
WHAT DO WE DO TO BRING IT
TOGETHER?
DO WE NEED A BIG
INTERDISCIPLINARY JOURNAL OR
CONFERENCE?
I DON'T KNOW.
BY THE WAY, THERE'S A WONDERFUL
JOURNAL MEDICAL PROBLEMS OF
PERFORMING ARTISTS.
IT'S A GREAT JOURNAL AND NONE OF
THOSE PEOPLE TALK TO THE REST OF
US MOST THE TIME SO WHAT'S THE
ANSWER?
>> I CAN START TO MAKE
CONNECTIONS BECAUSE I KNOW
ACADEMIC ADMINISTRATORS
CONSTANTLY TALK ABOUT THE
PROMISE OF INTERDISCIPLINE AND
THERE'S A FUNDING COMPONENT TO
IT.
EXTERNALLY FUNDED RESEARCH AND
MUSIC EDUCATION USED TO
LITERALLY BE AN OXYMORON.
AND IT'S NOT BECAUSE OF SUNIL
IYENGAR AND I'M GOING TO
PUBLICLY THANK HIM.
>> I SHOULD ADD THERE'S A COUPLE
OTHER PEOPLE WE SHOULD TALK TO,
LINGUISTS AND AANTHROPOLOGISTS
WHO DO THE CROSS-CULTURAL WORK.
WE ALL SHOULD BE WORKING
TOGETHER TOWARDS THE COMMON
GOAL.
>> I WANT TO GIVE A SHOUT OUT TO
DIVERSION 10 OF THE AMERICAN
PSYCHOLOGICAL ASSOCIATION AND WE
PUBLISH INTERDISCIPLINARY WORK
FROM MUSICIANS DOING CASE
STUDIES AND QUALITATIVE STUDIES
IN THEIR CLASSROOMS THROUGH TO
LARGE SCALE MEDICAL RCTs.
BUT I DO THINK IT HAS SOMETHING
TO DO WITH THE FUNDING STRUCTURE
AS WELL AND INTERDISCIPLINARY
FUNDING WHERE THERE'S
PARTNERSHIPS THROUGH PLACES LIKE
THE NIH AND THE NATIONAL
ENDOWMENT FOR THE ARTS
INDIVIDUAL PRIVATE FOUNDATIONS
INTERESTED IN THIS KIND OF WORK
I THINK THE KEY THING TO KEEP IN
MIND IS THAT EVERY STUDY I SAY
THIS TO MY GRADUATE STUDENTS ALL
THE TIME, EVERY STUDY IS ONE
PIECE OF A THOUSAND PIECE
PUZZLE.
KEEPING THAT IN MIND AS WE
PROPOSE OUR SCIENCE, CONDUCT AND
PROPOSE AND WRITE ABOUT OUR
SCIENCE IS IMPORTANT FOR INTER
DISCIPLINE AND SO KEEPING THAT
IN MIND AND NOT TRYING TO OVER
CLAIM I THINK IS CRITICAL GOING
FORWARD TOO.
>> AND THERE'S MORE DIVERSE AND
VARIOUS TYPES OF JOURNALS AND I
THINK IT COULD BE MORE
DELIBERATIVE AND INTENTIONAL IN
THINKING ABOUT JOHN'S TERM
NESTING IN JOURNALS.
I KNOW I'M MAKING IT SOUND EASY
I KNOW IT'S NOT AND SHOUT OUT TO
THE FACT IN TERMS OF AGGREGATORS
TO THE RESEARCH IN TERMS OF THE
SOUND NETWORK YOU HAVE ARTS IN A
CAPACIOUS WAY.
THERE'S MORE OF THIS KIND OF
INTER DISCIPDISCIPLINARY AND TR
DISCIPLINARY WORK GOING FORWARD.
>> I'D LIKE TO COMMENT FOR
SOMETHING TO BE TAKEN BY SCHOOLS
OR MAKE AN IMPACT THEY'RE NOT
NECESSARILY LOOKING AT ACADEMIC
PUBLICATIONS AND THAT IS
SOMETHING TO THINK ABOUT.
>> IN TERMS OF A UNIVERSITY
ADMINISTRATOR TO SEE VALUE IN
THIS.
I DON'T FIT IN MY DEPARTMENT I
HANG OUT AT THE MUSIC DEPARTMENT
AND BRINGING THAT ATTENTION TO
ME DEAN AND PROVOST AND A
COALITION OF FACULTY TOGETHER
FROM OUR MEDICAL SCHOOL OR
ENGINEERING WE'RE ALL SOMEHOW
INTERESTED IN MUSIC RESEARCH AND
ASKED FOR ADDITIONAL FUNDING TO
GET TOGETHER AND WRITE RESEARCH.
I THINK BRINGING ATTENTION TO
THE NATURE OF THE INT
INTERDISCIPLINARY WORK AND HOW
EVENTUALLY IT WILL BRING REVENUE
AND ATTENTION TO THE UNIVERSITY
NEEDS ADVOCACY BUT IS POSSIBLE.
>> AND WE'RE FINDING A COMMON
LANGUAGE.
I THINK THAT'S ONE OF THE THINGS
THAT'S VERY IMPORTANT ABOUT
TODAY.
BRINGING TOGETHER ARTISTS AND
SCIENTISTS TOGETHER AND WHEN THE
SCIENTISTS TALK ABOUT SCIENCE
THE ARTISTS CAN UNDERSTAND AND
WHEN THE PHYSICIAN TALK ABOUT
SCIENCE, THEY CAN UNDERSTAND.
WE HAVE TO CONTINUE TO WORK TO
CREATE THAT VOCABULARY WE CAN
SAR.
>> I WAS GOING TO SAY WHAT SUNIL
SAID THERE'S A NETWORK AND WHAT
WE LEARNED IN WORKING IN THE
SOUND HEALTH NETWORK THE LAST
YEARS YOU HAVE TO MAKE A
CONCERTED EFFORT TO BRING PEOPLE
ACROSS DISCIPLINES AND HAVE A
CONVERSATION.
IT DOESN'T HAPPEN ORGANICALLY.
THERE HAS TO BE AN ORGANIZATION
AND DOCUMENT THE CONVERSATION
AND COME AWAY WITH TAKEAWAYS.
I THINK SOMETIMES THAT WORK
ISN'T AS RECOGNIZED BECAUSE IT'S
NOT AS EASILY QUANTIFIABLE AS
PUBLICATIONS OR AMOUNT OF
FUNDING BUT JUST AS IMPORTANT
AND WHEN I LOOK AT THE THINGS
THAT HAVE HAPPENED THERE'S
SILENT FORCES THAT HAVE BEEN
WORKING ON THAT.
>> WE'VE GOT TIME FOR ONE MORE
QUESTION.
>> I WANT TO THANK ALL THE
PEOPLE IN THE PANEL.
IT'S A VERY EXCITING VARIETY OF
WORK IN MUSIC EDUCATION.
I THINK THERE'S OBVIOUSLY MORE
THAN ONE KIND OF MUSIC EDUCATION
AND WHAT HAPPENS WHEN A CHILD
LEARNS MUSIC IS THEY'RE
INTEGRATING ALL THEIR SENSES
SOMATO SENSORY, VISUAL,
AUDITORY, COGNITIVE SKILLS AND
THIS INTEGRATION PLAYS A HUGE
ROLE IN CHILD DEVELOPMENT IN A
BROAD SENSE OF THE WORD.
AND ONE OF THE THINGS I'M
CURIOUS ABOUT TWOFOLD IS TURNING
TO JOHN'S PRESENTATION WITH ABCD
DATA SET WHICH IS HUGE.
WHAT ARE THE MOST PROFOUND AND
STRIKING EFFECTS WE TALKED ABOUT
FOR THE INTELLIGENCE AND THAT'S
ABSTRACT.
WE'VE HEARD A LITTLE BIT ABOUT
WHETHER OR NOT USING EDUCATION
HELPS KIDS STAY IN SCHOOL AND SO
FORTH AND I WONDER WHETHER OR
NOT WE CAN PULL OUT WHAT THE
MOST CLEAR OUTCOME ARE AND
REALLY TRY TO UNDERSTAND WHY
THESE OUTCOMES EMERGE AND WONDER
IF YOU CAN SAY A FEW THINGS
ABOUT THAT AND IMPRESSED BY EL
SYSTEMA RA REPLICATED IN THE
U.S. AND STARTED IN COLOMBIA AND
HAD A HUGE IMPACT ON THE KIDS
AND THE COMMUNITY AND THROWING
IT OUT TO ANYONE ON THE PANEL
WHO WANTS TO ADDRESS THAT.
>> WE'VE REALLY JUST STICK TO
THE LOWEST HANGING FRUIT FOR
ABCD.
THERE'S 10,000 VARIABLES.
PLEASE START LOOKING.
ALL OF US.
BUT I THINK THAT'S THE ONE
APPROACH.
THE OTHER APPROACH IS TO THINK
ABOUT OUR PRIORITY AND WHAT
AFFECTS YOU THINK THERE MIGHT BE
AND THERE'S A DISCONNECT IN WHAT
A STUDY LIKE THAT MEASURES AND
SOME THINGS THAT WE'RE TRULY
INTERESTED IN AND FINDING THE
LINK IS ANOTHER KEY ELEMENT HOW
TO TAKE THESE ATOMIC MEASURES
AND HOW DOES THAT FIT INTO A
HEALTHY, HAPPY PERSON.
AND I WOULD SAY THE THIRD THING
IS IF YOU DON'T MEASURE IT, YOU
DON'T KNOW IT.
TO THE EXTENT I TALKED ABOUT
MUSIC AS THE NUMBER OF HOURS OF
MUSIC IS EQUIVALENT THAT'S NOT
TRUE.
THE MORE TEXTURE WE CAN GET WE
CAN GET TO THE COMPONENTS OF
MUSICALITY AND SEE THE
COMPONENTS OF MUSIC.
THAT'S JUST A CALL TO MEASURE
THINGS IN DETAIL.
>> ALL RIGHT.
IS THERE ONE FINAL THOUGHT?
WE NEED TO WRAP UP WITH SUNIL OR
WILL SHELLY TAKE US OUT.
>> THANK YOU FOR THE CHO CHAIRS
AND PANELISTS AND SPEAKERS AND
WE DIDN'T GIVE YOU AN
INTRODUCTION PER SE BUT SO YOU
KNOW, TONY HIMSELF IS A
MUSICIAN, COMPOSER AND
RESEARCHER IN CREATIVITY.
GREAT TO BE ABLE TO SHARE THE
PANEL WITH HIM.
THANK YOU SO MUCH, EVERYONE.
>> I WATCH THE TO THANK OUR
SESSION 3.
YOU CAN EXIT.
WE'RE GOING TO BE HAVING ONE
FINAL SET OF SPECIAL REMARKS SO
IF YOU CAN GO AHEAD AND EXIT
QUICKLY IF YOU WANT TO LEAVE THE
TABLES.
I WANT TO THANK OUR SESSION 3
PARTICIPANTS, OUR CO-CHAIRS WHO
DID A FABULOUS JOB AND MUSICIANS
AND SPEAKERS AND PANELISTS.
IT WAS A WONDERFUL SESSION AND
NOW WE'RE ACTUALLY GOING TO
BRING THE DAY TO A CLOSE WITH A
FEW SPECIAL REMARKS BY DR. JULIE
GERBERDING THE CHIEF EXECUTIVE
OFFICER FOR THE FOUNDATION FOR
THE NATIONAL INSTITUTES OF
HEALTH.
PLEASE TAKE IT AWAY.
>> THANK YOU.
WHAT AN INCREDIBLE AND INSPIRING
DAY.
I APPRECIATE ALL THE
PARTICIPANTS, THE PRESENTATIONS
AND ESPECIALLY THE PERFORMERS.
IT WAS BRILLIANT AND A LITTLE
BIT HARD TO TAKE IT ALL IN.
I'VE HAD A BIG INSIGHT JUST
SIGNATURE HERE THROUGHOUT THE
DAY BECAUSE I GREW UP IN RURAL
SOUTH DAKOTA NOT EXACTLY THE
MECCA OF CULTURE IN MANY
PEOPLE'S MINDS BUT BLESSED TO
GROW UP IN A MUSICALLY RICH
ENVIRONMENT AND MY GRANDMOTHER
RAISED CHILDREN WHO ALL PLAYED
INSTRUMENT AND THEY TAUGHT ME
EVERY NURSERY SONG YOU COULD
POSSIBLY WANT TO KNOW.
GOT PIANO LESSONS WHEN I WAS
FIVE AND NOT SO SUCCESSFULLY AND
I DID PLAY IN BAND AND ORCHESTRA
AND TOOK IT FOR GRANTED.
I NEVER APPRECIATED THAT WAS
SPECIAL AND RARE.
WE HAD MUSIC IN EVERY CLASS IN
SCHOOL IN THIS TINY LITTLE TOWN
AND I PUT MYSELF THROUGH COLLEGE
BY WORKING AT GIRL SCOUT CAMPS
AROUND SOUTH DAKOTA AS THE MUSIC
PERSON PLAYING THE UKULELE AT
CAMP FIRES ON AN EVENING BASIS.
MUSIC IS A BLESSING BUT MANY
TAKE IT FOR GRANTED AND
LISTENING TO THE CONVERSATION
AND THE RICHNESS AND CONVERGENCE
OF THE EXPERTISE ACROSS
DISCIPLINES IN THE ROOM IS
MIRACULOUS.
I COULDN'T SUMMARIZE ALL I HEARD
AND SURE MY LEARNING CURVE WILL
REMAIN STEEP GOING INTO
TOMORROW'S SESSIONS.
THERE'S THREE POINTS I'M TAKING
AWAY AND WANTED TO SHARE THEM
WITH YOU.
THE FIRST IS THAT TRULY
UNDERSTANDING THE SCIENCE OF
MUSIC AND MEDICINE IS AN
IMPERATIVE AND NOT JUST A NICE
THING TO DO AND UNDERSTANDING
THE CONNECTION BETWEEN NEURONS
AND NOTES AND NOCTURNS ALLOWS
THE PROBING OF SO MANY
DIMENSIONS, MENTAL HEALTH,
COGNITIVE FUNCTIONING, ETCETERA.
THEY'RE ALL FOUNDATION AL
ATTRIBUTES AND WE HAVE A
REMARKABLE AND INSIGHTS WE
COULDN'T DO WITHOUT THE PROBE.
THE SECOND TAKEAWAY FOR ME IS I
THINK IMMERSION OR ACCESS TO
MUSIC AND MUSIC EDUCATION SHOULD
BE LOOKED AT AS A SOCIAL
DETERMINATE OF HEALTH AND
WELL-BEING.
AS WE LOOK AT THE OTHER SOCIAL
DETERMINATES AND UNDERSTAND THE
INCREDIBLE INEQUITIES IN OUR
SOCIETY IT'S A FOUNDATIONAL
INDICATOR AT LEAST AT THE ACCESS
THAT ALLOWS PEOPLE TO LIVE
HEALTHY AND PRODUCTIVE LIVES AND
THE FACT SO CHILDREN ARE MISSING
THIS IN THEIR EARLIEST STAGES
BECAUSE THEIR CARETAKERS ARE
UNABLE OR CAN'T PROVIDE IT AND
DAY CARES AWITH NO MUSIC
PROGRAMS.
I LIVED IN SAN FRANCISCO FOR A
LONG TIME ACROSS THE STREET FROM
A MIDDLE SCHOOL AND GOT MY DREAM
FLUTE AND WANTED DONATE MY OLD
ONE AND CALLED AND SAID I'D LIKE
TO CONTRIBUTE THEM AND SAID WE
DON'T HAVE A MUSIC PROGRAM I
WOULDN'T KNOW WHAT TO DO WITH
THEM.
IT BROKE MY HEART AND I NEVER
THOUGHT KIDS DIDN'T HAVE ACCESS
TO MUSIC AND NEED TO THINK OF
MUSIC PROGRAMS AS AN
OPPORTUNITY.
I PREDICT THOUGH I DON'T HAVE
THE DATA AT A RELEVANT PRICE
POINTLESS EXPENSIVE THAN FIXING
THE OTHER SOCIAL DETERMINATES OF
HEALTH THAT ARE VITAL THIS WOULD
BE A BARGAIN PROBABLY PAY FOR
ITSELF OVER AND OVER AGAIN IN
ALL OF THE PLACES WHERE PEOPLE
LIVE, WORK, AGE AND RECEIVE
HEALTH CARE.
AND ANOTHER POINT GOES BACK TO
THE DISCUSSION THIS MORNING YOU
BROUGHT UP IN Q&A ON THE ROLE OF
MUSIC AND MUSIC NARRATIVE AS A
CONNECTOR.
MUSIC IS AN INCREDIBLY POWERFUL
CONNECTOR.
I GO TO SAFARIS AT THE SAME
PLACE EVERY YEAR ONE PLACE I
LOVE.
WHEN I ARRIVE THERE I'M ALWAYS
GREETED WE THE LEADERS WHO DANCE
AND SING.
I HAVE NO IDEA WHAT THEY'RE
SAYING BUT THEY'RE SPEAKING
THEIR NATIVE LANGUAGE BUT I
UNDERSTAND WHAT THEY'RE
COMMUNICATING AND THE STORY
THEY'RE TELLING AND IT CONNECTS
ME TO THEM IN PROFOUND AND
POWERFUL WAYS AND NOW BECAUSE
I'VE KNOWN MANY FOR A LONG TIME
IT'S A COMING HOME EXPERIENCE
THAT JUST MAKES ME -- I'M NOT
ZIMBABWEAN BUT I REMEMBER BEING
IN SOUTH AFRICA AND EXPERIENCING
THE SOUTH AFRICAN NATIONAL
ANTHEMAN
THEM FOR THE FIRST TIME WHICH IS
A SYNTHESIS OF THREE LANGUAGES
SYMBOLICALLY REPRESENTING THE
CHANGE OF SOUTH AFRICA WHEN IT
ENDED APARTHEID, ETCETERA.
THOSE ARE SMALL EXAMPLES BUT
MUSIC IS TRANSCENDENT AND
REMINDS US WE DON'T HAVE TO BE
TRIBAL.
WE BELONG TO THE HUMAN TRIBE AND
CAN ALL SING FROM THE SAME SHEET
OF MUSIC.
I'LL LEAVE YOU WITH THOSE THREE
THOUGHTS AND GREAT THANK YOU TO
OUR CO-CHAIRS, FRANCIS AND RENE.
THANK YOU FOR YOUR INSPIRATION
AND WISDOM.
ALSO, TO THE KENNEDY CENTER, THE
NATIONAL ENDOWMENT OF THE ARTS
AND TO ALL THE ACADEMITIONS AND
LEADERS AND PERFORMERS AND
PEOPLE HERE CONTRIBUTING SO MUCH
LEARNING FOR ALL OF US.
ENJOY THE EVENING AND LOOK
FORWARD TO SEEING YOU TOMORROW. 10389 07:05:34,876 THANK YOU.