Components of Active Music Interventions in Therapeutic Settings-Present and Future Applications.

Musical interventions in therapy have become increasingly relevant for rehabilitation in many clinics. What was long known for physiotherapy training-that the agency of the participant is crucial and moving is much more efficient for rehabilitation success than being moved-has over recent years also been shown to be true for music therapy. Accumulating evidence suggests that active musical interventions are especially efficient at helping rehabilitation success. Here, we review various approaches to active music therapy. Furthermore, we present several components that allow for manipulating musical expressiveness and physical engagement during active musical interventions, applying a technology-based music feedback paradigm. This paper will allow for a transfer of insights to other domains of music-based therapeutic interventions.

Musical meaning modulates word acquisition.

Musical excerpts have been shown to have the capacity to prime the processing of target words and vice versa, strongly suggesting that music can convey concepts. However, to date no study has investigated an influence of musical semantics on novel word acquisition, thus corroborating evidence for a similarity of underlying semantic processing of music and words behaviourally. The current study investigates whether semantic content of music can assist the acquisition of novel words. Forty novel words and their German translation were visually presented to 26 participants accompanied by either semantically congruent or incongruent music. Semantic congruence between music and words was expected to increase performance in the subsequent forced-choice recognition test. Participants performed significantly better on the retention of novel words presented with semantically congruent music compared to those presented with semantically incongruent music. This provides first evidence that semantic "enrichment" by music during novel word learning can augment novel word acquisition. This finding may lead to novel approaches in foreign language acquisition and language rehabilitation, and further strongly supports the concept that music has a strong capacity to iconically convey meaning.

How music alters a kiss: superior temporal gyrus controls fusiform-amygdalar effective connectivity.

While watching movies, the brain integrates the visual information and the musical soundtrack into a coherent percept. Multisensory integration can lead to emotion elicitation on which soundtrack valences may have a modulatory impact. Here, dynamic kissing scenes from romantic comedies were presented to 22 participants (13 females) during functional magnetic resonance imaging scanning. The kissing scenes were either accompanied by happy music, sad music or no music. Evidence from cross-modal studies motivated a predefined three-region network for multisensory integration of emotion, consisting of fusiform gyrus (FG), amygdala (AMY) and anterior superior temporal gyrus (aSTG). The interactions in this network were investigated using dynamic causal models of effective connectivity. This revealed bilinear modulations by happy and sad music with suppression effects on the connectivity from FG and AMY to aSTG. Non-linear dynamic causal modeling showed a suppressive gating effect of aSTG on fusiform-amygdalar connectivity. In conclusion, fusiform to amygdala coupling strength is modulated via feedback through aSTG as region for multisensory integration of emotional material. This mechanism was emotion-specific and more pronounced for sad music. Therefore, soundtrack valences may modulate emotion elicitation in movies by differentially changing preprocessed visual information to the amygdala.

Anatomical differences in the human inferior colliculus relate to the perceived valence of musical consonance and dissonance.

Helmholtz himself speculated about a role of the cochlea in the perception of musical dissonance. Here we indirectly investigated this issue, assessing the valence judgment of musical stimuli with variable consonance/dissonance and presented diotically (exactly the same dissonant signal was presented to both ears) or dichotically (a consonant signal was presented to each ear--both consonant signals were rhythmically identical but differed by a semitone in pitch). Differences in brain organisation underlying inter-subject differences in the percept of dichotically presented dissonance were determined with voxel-based morphometry. Behavioral results showed that diotic dissonant stimuli were perceived as more unpleasant than dichotically presented dissonance, indicating that interactions within the cochlea modulated the valence percept during dissonance. However, the behavioral data also suggested that the dissonance percept did not depend crucially on the cochlea, but also occurred as a result of binaural integration when listening to dichotic dissonance. These results also showed substantial between-participant variations in the valence response to dichotic dissonance. These differences were in a voxel-based morphometry analysis related to differences in gray matter density in the inferior colliculus, which strongly substantiated a key role of the inferior colliculus in consonance/dissonance representation in humans.