Avaliação de Músicas Compostas para Indução de Relaxamento e de seus Efeitos Psicológicos / Evaluation of Music Composed for Inducing Relaxation and its Psychological Effects / Evaluación de Canciones Compuestas para la Inducción a la Relajación y sus Efectos Psicológicos

Resumo O presente estudo teve por objetivo avaliar as características das músicas compostas por dois diferentes compositores para a fase preparatória da Abordagem Direta do Inconsciente/Terapia de Integração Pessoa (ADI/TIP) e seus efeitos psicológicos, buscando verificar se elas contribuem para a indução de relaxamento. Para tanto, foi realizada inicialmente a análise teórica das músicas com o intuito de verificar se apresentavam características estruturais consideradas relaxantes, evidenciadas pelos estudos experimentais revisados. Posteriormente, as músicas foram avaliadas considerando os efeitos subjetivos eliciados pela sua audição. Participaram do estudo 72 voluntários, divididos em quatro condições: 1) Compositor A; 2) Compositor B; 3) Coletânea (músicas utilizadas em estudos prévios para promover o relaxamento); e 4) Sem audição musical. Os participantes responderam a um protocolo de avaliação da percepção subjetiva de sentimentos e emoções antes e depois de serem expostos à condição experimental. Os dados do protocolo foram comparados com os dados obtidos na análise teórica das músicas. Apesar de as músicas do compositor A apresentarem mais características estruturais relaxantes do que as do compositor B, todas as músicas analisadas foram consideradas como relaxantes e tiveram efeito para redução da pontuação da categoria de “Raiva/Medo” do protocolo utilizado. Isso indica que as músicas utilizadas na fase preparatória do método ADI/TIP possuem características relaxantes e contribuem para diminuição de sensações correspondentes a uma valência negativa e excitabilidade alta, favorecendo à promoção do estado de relaxamento necessário à eficácia deste método terapêutico....(AU)

Abstract The present study aimed to evaluate the characteristics of songs composed by two different composers for the preparatory stage of the ADI/TIP and its psychological effects, seeking to ensure that these songs contribute to relaxation induction. To this end, we initially held a theoretical analysis of these songs in order to verify if they presented structural characteristics considered as relaxing by some experimental studies reviewed. The subjective effects elicited by the audition of these songs were subsequently evaluated. For this purpose, 72 volunteers participated in this study, distributed into four different conditions: 1) Composer A; 2) Composer B; 3) Compilation album (songs used in previous studies to promote relaxation); and 4) No music listening condition. Participants answered a protocol for assessing their subjective perception of feelings and emotions before and after being exposed to the experimental conditions. We compared the protocol data with data obtained from the theoretical analysis of the songs. Despite songs composed by Composer A present more relaxing structural characteristics than Composer B’s songs, all of these songs could be considered as relaxing and had effect to reduce the score of the “Anger/Fear” category of the protocol utilized. This indicates that songs used in the preparatory phase of the ADI method/TIP have relaxing characteristics and contributed to decrease the sensations corresponding to a negative valence and high excitability, favoring the promotion of relaxation necessary for the effectiveness of this therapeutic method....(AU)

Resumen El presente estudio tuvo por objetivo evaluar las características de canciones compuestas por dos diferentes compositores para la fase preparatoria de la ADI/TPI y sus efectos psicológicos, buscando verificar si ellas contribuyen para la inducción a la relajación. Para tanto, se realizó inicialmente el análisis teórico de las canciones con la intención de verificar si presentaban características estructurales consideradas relajantes, evidenciadas por los estudios experimentales revisados. Posteriormente, las canciones fueron evaluadas considerando los efectos subjetivos causados por su audición. Participaron del estudio 72 voluntarios, divididos según cuatro condiciones: 1) Compositor A; 2) Compositor B; 3) Colección (canciones utilizadas en estudios previos para promover la relajación); y 4) Sin audición musical. Los participantes contestaron a un protocolo de evaluación de la percepción subjetiva de sentimientos y emociones antes y después de la exposición a la condición experimental. Los datos del protocolo fueron comparados con los obtenidos en el análisis teórico de las canciones. A pesar de que las músicas del compositor A presentaron más características estructurales relajantes que las del compositor B, todas las canciones analizadas fueron consideradas relajantes y resultaron en la reducción de la puntuación de la categoría de “Rabia/Miedo” del protocolo utilizado. Esto indica que las canciones utilizadas en la fase preparatoria del método ADI/TIP poseen características relajantes y contribuyen a la disminución de sensaciones relacionadas a una valencia negativa y excitabilidad alta, lo que favorece la promoción del estado de relajación necesario para la eficacia de este método terapéutico....(AU)

Avaliação de músicas compostas para indução de relaxamento e de seus efeitos psicológicos / Evaluation of music composed for inducing relaxation and its psychological effects / Evaluación de canciones compuestas para la inducción a la relajación y sus efectos psicológicos

Resumo O presente estudo teve por objetivo avaliar as características das músicas compostas por dois diferentes compositores para a fase preparatória da Abordagem Direta do Inconsciente/Terapia de Integração Pessoa (ADI/TIP) e seus efeitos psicológicos, buscando verificar se elas contribuem para a indução de relaxamento. Para tanto, foi realizada inicialmente a análise teórica das músicas com o intuito de verificar se apresentavam características estruturais consideradas relaxantes, evidenciadas pelos estudos experimentais revisados. Posteriormente, as músicas foram avaliadas considerando os efeitos subjetivos eliciados pela sua audição. Participaram do estudo 72 voluntários, divididos em quatro condições: 1) Compositor A; 2) Compositor B; 3) Coletânea (músicas utilizadas em estudos prévios para promover o relaxamento); e 4) Sem audição musical. Os participantes responderam a um protocolo de avaliação da percepção subjetiva de sentimentos e emoções antes e depois de serem expostos à condição experimental. Os dados do protocolo foram comparados com os dados obtidos na análise teórica das músicas. Apesar de as músicas do compositor A apresentarem mais características estruturais relaxantes do que as do compositor B, todas as músicas analisadas foram consideradas como relaxantes e tiveram efeito para redução da pontuação da categoria de “Raiva/Medo” do protocolo utilizado. Isso indica que as músicas utilizadas na fase preparatória do método ADI/TIP possuem características relaxantes e contribuem para diminuição de sensações correspondentes a uma valência negativa e excitabilidade alta, favorecendo à promoção do estado de relaxamento necessário à eficácia deste método terapêutico.(AU)

Abstract The present study aimed to evaluate the characteristics of songs composed by two different composers for the preparatory stage of the ADI/TIP and its psychological effects, seeking to ensure that these songs contribute to relaxation induction. To this end, we initially held a theoretical analysis of these songs in order to verify if they presented structural characteristics considered as relaxing by some experimental studies reviewed. The subjective effects elicited by the audition of these songs were subsequently evaluated. For this purpose, 72 volunteers participated in this study, distributed into four different conditions: 1) Composer A; 2) Composer B; 3) Compilation album (songs used in previous studies to promote relaxation); and 4) No music listening condition. Participants answered a protocol for assessing their subjective perception of feelings and emotions before and after being exposed to the experimental conditions. We compared the protocol data with data obtained from the theoretical analysis of the songs. Despite songs composed by Composer A present more relaxing structural characteristics than Composer B’s songs, all of these songs could be considered as relaxing and had effect to reduce the score of the “Anger/Fear” category of the protocol utilized. This indicates that songs used in the preparatory phase of the ADI method/TIP have relaxing characteristics and contributed to decrease the sensations corresponding to a negative valence and high excitability, favoring the promotion of relaxation necessary for the effectiveness of this therapeutic method.(AU)

Resumen El presente estudio tuvo por objetivo evaluar las características de canciones compuestas por dos diferentes compositores para la fase preparatoria de la ADI/TPI y sus efectos psicológicos, buscando verificar si ellas contribuyen para la inducción a la relajación. Para tanto, se realizó inicialmente el análisis teórico de las canciones con la intención de verificar si presentaban características estructurales consideradas relajantes, evidenciadas por los estudios experimentales revisados. Posteriormente, las canciones fueron evaluadas considerando los efectos subjetivos causados por su audición. Participaron del estudio 72 voluntarios, divididos según cuatro condiciones: 1) Compositor A; 2) Compositor B; 3) Colección (canciones utilizadas en estudios previos para promover la relajación); y 4) Sin audición musical. Los participantes contestaron a un protocolo de evaluación de la percepción subjetiva de sentimientos y emociones antes y después de la exposición a la condición experimental. Los datos del protocolo fueron comparados con los obtenidos en el análisis teórico de las canciones. A pesar de que las músicas del compositor A presentaron más características estructurales relajantes que las del compositor B, todas las canciones analizadas fueron consideradas relajantes y resultaron en la reducción de la puntuación de la categoría de “Rabia/Miedo” del protocolo utilizado. Esto indica que las canciones utilizadas en la fase preparatoria del método ADI/TIP poseen características relajantes y contribuyen a la disminución de sensaciones relacionadas a una valencia negativa y excitabilidad alta, lo que favorece la promoción del estado de relajación necesario para la eficacia de este método terapéutico.(AU)

Examining pitch and numerical magnitude processing in congenital amusia: A quasi-experimental pilot study.

INTRODUCTION: Congenital amusia is a developmental disorder associated with deficits in pitch height discrimination or in integrating pitch sequences into melodies. This quasi-experimental pilot study investigated whether there is an association between pitch and numerical processing deficits in congenital amusia. Since pitch height discrimination is considered a form of magnitude processing, we investigated whether individuals with amusia present an impairment in numerical magnitude processing, which would reflect damage to a generalized magnitude system. Alternatively, we investigated whether the numerical processing deficit would reflect a disconnection between nonsymbolic and symbolic number representations. METHOD: This study was conducted with 11 adult individuals with congenital amusia and a control comparison group of 6 typically developing individuals. Participants performed nonsymbolic and symbolic magnitude comparisons and number line tasks. Results were available from previous testing using the Montreal Battery of Evaluation of Amusia (MBEA) and a pitch change detection task (PCD). RESULTS: Compared to the controls, individuals with amusia exhibited no significant differences in their performance on both the number line and the nonsymbolic magnitude tasks. Nevertheless, they showed significantly worse performance on the symbolic magnitude task. Moreover, individuals with congenital amusia, who presented worse performance in the Meter subtest, also presented less precise nonsymbolic numerical representation. CONCLUSIONS: The relationship between meter and nonsymbolic numerical discrimination could indicate a general ratio processing deficit. The finding of preserved nonsymbolic numerical magnitude discrimination and mental number line representations, with impaired symbolic number processing, in individuals with congenital amusia indicates that (a) pitch height and numerical magnitude processing may not share common neural representations, and (b) in addition to pitch processing, individuals with amusia may present a deficit in accessing nonsymbolic numerical representations from symbolic representations. The symbolic access deficit could reflect a widespread impairment in the establishment of cortico-cortical connections between association areas.

Meta-analytic evidence for the non-modularity of pitch processing in congenital amusia.

A major theme driving research in congenital amusia is related to the modularity of this musical disorder, with two possible sources of the amusic pitch perception deficit. The first possibility is that the amusic deficit is due to a broad disorder of acoustic pitch processing that has the effect of disrupting downstream musical pitch processing, and the second is that amusia is specific to a musical pitch processing module. To interrogate these hypotheses, we performed a meta-analysis on two types of effect sizes contained within 42 studies in the amusia literature: the performance gap between amusics and controls on tasks of pitch discrimination, broadly defined, and the correlation between specifically acoustic pitch perception and musical pitch perception. To augment the correlation database, we also calculated this correlation using data from 106 participants tested by our own research group. We found strong evidence for the acoustic account of amusia. The magnitude of the performance gap was moderated by the size of pitch change, but not by whether the stimuli were composed of tones or speech. Furthermore, there was a significant correlation between an individual's acoustic and musical pitch perception. However, individual cases show a double dissociation between acoustic and musical processing, which suggests that although most amusic cases are probably explainable by an acoustic deficit, there is heterogeneity within the disorder. Finally, we found that tonal language fluency does not influence the performance gap between amusics and controls, and that there was no evidence that amusics fare worse with pitch direction tasks than pitch discrimination tasks. These results constitute a quantitative review of the current literature of congenital amusia, and suggest several new directions for research, including the experimental induction of amusic behaviour through transcranial magnetic stimulation (TMS) and the systematic exploration of the developmental trajectory of this disorder.

Amusias and modularity of musical cognitive processing

In the past few years the study of music from a neuroscientific perspective has considerably improved, allowing the evolution of both theoretical knowledge and constructs related to cognitive musical processing. Both neuroimaging studies and studies of individuals who suffer from selective deficits of musical abilities have favored the construction of useful models to understand the mechanisms of musical processing, thus revealing its complexity and eliciting the hypothesis of the modular organization of music in the brain. This article reviews studies of cognitive musical processing with a focus on deficits in musical abilities and the neuropsychological model of cognitive musical processing developed by Isabelle Peretz. This model is an important contribution to neuroscientific studies of music because it furthers the understanding of selective deficits in different components of musical processing that occur in both individuals who incur brain damage and those with congenital amusia. The model also serves as theoretical support for diagnosing different types of amusia.(AU)

Amusias and modularity of musical cognitive processing

In the past few years the study of music from a neuroscientific perspective has considerably improved, allowing the evolution of both theoretical knowledge and constructs related to cognitive musical processing. Both neuroimaging studies and studies of individuals who suffer from selective deficits of musical abilities have favored the construction of useful models to understand the mechanisms of musical processing, thus revealing its complexity and eliciting the hypothesis of the modular organization of music in the brain. This article reviews studies of cognitive musical processing with a focus on deficits in musical abilities and the neuropsychological model of cognitive musical processing developed by Isabelle Peretz. This model is an important contribution to neuroscientific studies of music because it furthers the understanding of selective deficits in different components of musical processing that occur in both individuals who incur brain damage and those with congenital amusia. The model also serves as theoretical support for diagnosing different types of amusia.

Montreal Battery of Evaluation of Amusia: validity evidence and norms for adolescents in Belo Horizonte, Minas Gerais, Brazil / Bateria Montreal de Avaliação de Amusia: evidências de validade e normas para adolescentes de Belo Horizonte

The Montreal Battery of Evaluation of Amusia (MBEA) is a battery of tests that assesses six music processing components: scale, contour, interval, rhythm, metric, and music memory. The present study sought to verify the psychometric characteristics of the MBEA in a sample of 150 adolescents aged 14-18 years in the city of Belo Horizonte, Minas Gerais, Brazil, and to develop specific norms for this population. We used statistical procedures that explored the dimensional structure of the MBEA and its items, evaluating their adequacy from empirical data, verifying their reliability, and providing evidence of validity. The results for the difficult levels for each test indicated a trend toward higher scores, corroborating previous studies. From the analysis of the criterion groups, almost all of the items were considered discriminatory. The globalscore of the MBEA was shown to be valid and reliable (rK-R20=0.896) for assessing the musical ability of normal teenagers. Based on the analysis of the items, we proposed a short version of the MBEA. Further studies with larger samples and amusic individuals are necessary to provide evidence of the validity of the MBEA in the Brazilian milieu. The present study brings to the Brazilian context a tool for diagnosing deficits in musical skills and will serve as a basis for comparisons with single case studies and studies of populations with specific neuropsychological syndromes.

A Montreal Battery of Evaluation of Amusia (MBEA) é uma bateria de testes que avalia funções musicais referentes a seis componentes do processamento musical: escala, contorno, intervalo, ritmo, métrica e memória musical. O presente estudo objetivou verificar as características psicométricas da MBEA em uma amostra de 150 adolescentes de 14 a 18 anos da cidade de Belo Horizonte e compor normas específicas para essa população. Foram utilizados procedimentos estatísticos que permitiram explorar a estrutura dimensional da MBEA e dos itens componentes, avaliar a adequação dositens a partir de dados empíricos, verificar a confiabilidade e levantar evidências de validade a partir da análise fatorial. A análise de grupos-critério indicou que quase todos os itens podem ser considerados discriminativos. O índice global da MBEA se mostrou válido e fidedigno (rK-R20=0,896) para avaliar as habilidade musicais de adolescentes normais. A partir da análise dos itens foi proposta uma versão reduzida da MBEA. O presente estudo, além de trazer para o contexto brasileiroum instrumento para o diagnóstico de déficits de funções musicais, poderá servir como base de comparação para estudosde caso simples e estudos posteriores em populações com síndromes neuropsicológicas específicas.

A música para indução de relaxamento na Terapia de Integração Pessoal pela Abordagem Direta do Inconsciente: ADI/TIP / Music for relaxation induction in the Personal Integration Therapy by the Unconscious Direct Approach: ADI/TIP

Estudos revelam que determinados tipos de música podem favorecer a manutenção da saúde mental, reduzir ou prevenir o estresse, aliviar o cansaço físico e induzir emoções, o que nos leva a refletir sobre sua utilização como recurso terapêutico. Este trabalho tem por objetivo discutir sobre a utilização da música para indução de relaxamento, os benefícios deste recurso para a pessoa em processo terapêutico e sua aplicação na Terapia de Integração Pessoal pelo método Abordagem Direta do Inconsciente (ADI/ TIP). Para isso, foi realizada uma revisão de literatura, explicitando-se a história da utilização da música com fins terapêuticos, seus efeitos sobre os estados fisiológicos e as emoções e consequentes benefícios para sua utilização a partir da indução de relaxamento. Observou-se que músicas consideradas sedativas, com andamento lento e poucas variações rítmicas, podem reduzir o estresse e favorecer o relaxamento, o que aponta para os benefícios de sua utilização como um instrumento facilitador do processo terapêutico da ADI/ TIP.(AU)

Studies show that certain types of music can promote the maintenance of mental health, reduce or prevent stress, alleviate physical fatigue and induce emotions, which leads us to reflect on its use as a therapy resource. This paper aims at discussing about the use of music to induce relaxation, the benefits of this resource in the therapeutic process and its application in the Personal Integration Therapy by Unconscious Direct Approach method (ADI/TIP). For this, we performed a literature review explaining the history of the use of music for therapeutic purposes, its effects on the physiological and emotional states and consequent benefits to its use from the induction of relaxation. It was observed that considered sedative music, with slow tempo and few rhythmic variations can reduce stress and promote relaxation, which points to the benefits of its use as a facilitator of the therapeutic process of (ADI/TIP).(AU)

Montreal Battery of Evaluation of Amusia: Validity evidence and norms for adolescents in Belo Horizonte, Minas Gerais, Brazil.

The Montreal Battery of Evaluation of Amusia (MBEA) is a battery of tests that assesses six music processing components: scale, contour, interval, rhythm, metric, and music memory. The present study sought to verify the psychometric characteristics of the MBEA in a sample of 150 adolescents aged 14-18 years in the city of Belo Horizonte, Minas Gerais, Brazil, and to develop specific norms for this population. We used statistical procedures that explored the dimensional structure of the MBEA and its items, evaluating their adequacy from empirical data, verifying their reliability, and providing evidence of validity. The results for the difficult levels for each test indicated a trend toward higher scores, corroborating previous studies. From the analysis of the criterion groups, almost all of the items were considered discriminatory. The global score of the MBEA was shown to be valid and reliable (rK-R20=0.896) for assessing the musical ability of normal teenagers. Based on the analysis of the items, we proposed a short version of the MBEA. Further studies with larger samples and amusic individuals are necessary to provide evidence of the validity of the MBEA in the Brazilian milieu. The present study brings to the Brazilian context a tool for diagnosing deficits in musical skills and will serve as a basis for comparisons with single case studies and studies of populations with specific neuropsychological syndromes.

A Montreal Battery of Evaluation of Amusia (MBEA) é uma bateria de testes que avalia funções musicais referentes a seis componentes do processamento musical: escala, contorno, intervalo, ritmo, métrica e memória musical. O presente estudo objetivou verificar as características psicométricas da MBEA em uma amostra de 150 adolescentes de 14 a 18 anos da cidade de Belo Horizonte e compor normas específicas para essa população. Foram utilizados procedimentos estatísticos que permitiram explorar a estrutura dimensional da MBEA e dos itens componentes, avaliar a adequação dos itens a partir de dados empíricos, verificar a confiabilidade e levantar evidências de validade a partir da análise fatorial. A análise de grupos-critério indicou que quase todos os itens podem ser considerados discriminativos. O índice global da MBEA se mostrou válido e fidedigno (rK-R20=0,896) para avaliar as habilidade musicais de adolescentes normais. A partir da análise dos itens foi proposta uma versão reduzida da MBEA. O presente estudo, além de trazer para o contexto brasileiro um instrumento para o diagnóstico de déficits de funções musicais, poderá servir como base de comparação para estudos de caso simples e estudos posteriores em populações com síndromes neuropsicológicas específicas.