The Montreal Study Participants, who were recruited for the study through advertisements, had their brain activity monitored while listening to their favourite music. Write the correct letter in boxes on your answer sheet 6 What point does the writer emphasise in the first paragraph? A how dramatically our reactions to music can vary B how intense our physical responses to music can be C how little we know about the way that music affects us D how much music can tell us about how our brains operate Answer: B Locate 7 What view of the Montreal study does the writer express in the second paragraph?
Answer: C Locate 8 What does the writer find interesting about the results of the Montreal study? Questions Complete each sentence with the correct ending, A-F , below. B neuron activity decreases if outcomes become predictable. C emotive music can bring to mind actual pictures and events. D experiences on our past can influence our emotional reaction to music. E emotive music delays giving listeners what they expect to hear. F neuron activity increases prior to key points in a musical piece.
Other Tests. Total questions: Reducing electricity consumption on the Isle of Eigg Technology. Reducing electricity consumption on the Isle of Eigg. Take Test View Solution. Trends and prospects for European transport systems Science. Trends and prospects for European transport systems. Twist in the Tale General Training. Twist in the Tale. Total questions: 7. Arthur Phillip College General Training. Arthur Phillip College. For example, colors are notoriously emotionally evocative, and arguments about what color something should be painted are the source of an alarming number of marital arguments.
Which brings us back to music and the Logeswaran paper. Music is exquisitely emotionally evocative, which is why a touch of happy music makes even unrelated pictures seem more pleasant. In light of the above, then, we are led to the conclusion that the artifact of music should contain some distinctly human elements.
The question, of course, is what those elements are. One candidate is our expressive speech — perhaps music is just an abstract form of language. But there is a second auditory expressive behavior we humans carry out — our bodily movements themselves. Human movement has been conjectured to underlie music as far back as the Greeks. As a hypothesis this has the advantage that we have auditory systems capable of making sense of the sounds of people moving in our midst — an angry stomper approaching, a delicate lilter passing, and so on.
Some of these movements trigger positive emotions — they conjure up images of pleasant activities — while others might be automatically associated with fear or anxiety. But if music sounds like human expressive movements, then it sounds like something that, all by itself, is rich in emotional expressiveness, and can be easily interpreted by the auditory system. Regardless of whether music is emotional intonation from speech or a summary of expressive movements — or something else altogether — the new research by Logeswaran and Bhattacharya adds yet more fuel to the expectation that music has been culturally selected to sound like an emotionally expressive human.
It also helps us understand how emotions are processed in the brain. Click here to read the full study. Discover Music. See more Latest news.
See more Latest videos. See more Latest pictures. What are the characteristics of a piece of music that make us want to hear it over and over? In the s, Irving Berlin proposed a set of rules for writing a successful popular song. He argued that simplicity is very important, and also that the music should have familiar elements. This repetition causes the song to be stuck in our heads—and, in general, the more familiar we are with a song, the more we want to listen to it again.
Emotional experiences associated with music are highly idiosyncratic. You and I could be listening to the same song and feel completely different things. Or you could be listening to the same song on different occasions and feel different emotions each time. This technology operates on three levels: physiological, cognitive, and social. At a physiological level, changes in the basic acoustic features of sound—like tempo, timbre, or loudness—create measurable effects in our bodies.
For example, a fast tempo or increasing loudness might increase our heart rate, while a scraping sound might cause us to tense up. Because these sounds are made by concrete objects and events in our environment, through our knowledge of these associations they can lead to basic sensations of pleasure or displeasure, much like they do in our other senses.
Next up is the cognitive level. We all grow up hearing music particular to our culture, and through mere exposure to this music we develop a stylistic competency. This stylistic knowledge leads to us having certain expectations about how the music is most likely to unfold: what harmonies are most likely to accompany a particular melody, or what kind of a beat is typical for a song in this or that context. Musicians will then play with those expectations to create moments that might feel like points of tension and relaxation in the music, leading to more complex emotions such as chills or awe or desire.
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