The neural underpinnings of music listening under different attention conditions
Jäncke L, Leipold S, Burkhard A
Neuroreport · 17 citas
Etiquetas de revisión
Financiación no declaradaSolo mecanismosDatos neutrales que nuestra revisión registró sobre cómo se hizo este estudio. Describen el método, nunca si nos gusta el resultado.
Cómo se estudió
- Diseño
- Ensayo clínico controlado (clasificado por nuestro filtro de IA)
- Estudiado en
- Personas
- Resultado principal
- Solo mecanismos
Quién lo pagó
- Financiación
- Financiación no declarada
Publicación
- Publicado
- 2018-03-29 · Neuroreport · vol. 29 · número 7 · págs. 594–604
- Editorial
- Lippincott Williams & Wilkins
- Citado
- 21 citas · más que el 75% de estudios similares · 1.1× el promedio de su campo
- Referencias
- 44 trabajos
- Acceso
- Acceso abierto (copia en repositorio) · OTHER-OA
- Áreas de investigación
- Neuroscience and Music Perception · Neural dynamics and brain function · EEG and Brain-Computer Interfaces
- Palabras clave
- Psychology, Active listening, Cognitive psychology, Neuroscience, Communication
- MeSH
- humans, electroencephalography, cortical synchronization, acoustic stimulation, photic stimulation, auditory perception, visual perception, attention, evoked potentials, auditory, heart rate, music, adolescent, adult, female, male, young adult
3 autores
- Lutz Jäncke🇸🇦🇨🇭 · autor de correspondenciaKing Abdulaziz University; University of Zurich
- Simon Leipold🇸🇦🇨🇭🇺🇸King Abdulaziz University; University of Zurich; Chicago Neuropsychology Group
- Anja Burkhard🇸🇦🇨🇭🇺🇸King Abdulaziz University; University of Zurich; Chicago Neuropsychology Group
Resumen
El texto original del estudio, en el idioma en que se publicó.
Most studies examining the neural underpinnings of music listening have no specific instruction on how to process the presented musical pieces. In this study, we explicitly manipulated the participants' focus of attention while they listened to the musical pieces. We used an ecologically valid experimental setting by presenting the musical stimuli simultaneously with naturalistic film sequences. In one condition, the participants were instructed to focus their attention on the musical piece (attentive listening), whereas in the second condition, the participants directed their attention to the film sequence (passive listening). We used two instrumental musical pieces: an electronic pop song, which was a major hit at the time of testing, and a classical musical piece. During music presentation, we measured electroencephalographic oscillations and responses from the autonomic nervous system (heart rate and high-frequency heart rate variability). During passive listening to the pop song, we found strong event-related synchronizations in all analyzed frequency bands (theta, lower alpha, upper alpha, lower beta, and upper beta). The neurophysiological responses during attentive listening to the pop song were similar to those of the classical musical piece during both listening conditions. Thus, the focus of attention had a strong influence on the neurophysiological responses to the pop song, but not on the responses to the classical musical piece. The electroencephalographic responses during passive listening to the pop song are interpreted as a neurophysiological and psychological state typically observed when the participants are 'drawn into the music'.
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