The Mozart Effect, Brain Power, Focus, Cognition Enhancer for Clearer and Faster Thinking, Studying Music, Find Inner Peace, Relaxation, Chakra Balancing
and much, much more!!!
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O que funciona pra mim:
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# Bach
> Cello Suites
Mischa Maisky
www.youtube.com/watch?v=mGQLXRTl3Z0
Rostropovich
www.youtube.com/watch?v=MUAOWI-tkGg
Yo Yo Ma
www.youtube.com/watch?v=EcR6j_JNwQs
> Brandenburg Concertos
www.youtube.com/watch?v=8ejVor497wQ
www.youtube.com/watch?v=uKOzcuWRW2o
> The Well-Tempered Clavier
https://www.youtube.com/watch?v=9Em1leM682Y
https://www.youtube.com/watch?v=Ej5rGGTHy54
> Paixão de S. Mateus
https://www.youtube.com/watch?v=jm1os4VzTgA
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# Vivaldi
https://www.youtube.com/watch?v=O6NRLYUThrY
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# Mozart
https://www.youtube.com/watch?v=Rb0UmrCXxVA
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# Chopin
https://www.youtube.com/watch?v=GZbuA7r17uk&list=PL0FF7E914AABDD630
https://www.youtube.com/watch?v=wygy721nzRc
https://www.youtube.com/watch?v=oy6NvWeVruY
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# Debussy
https://www.youtube.com/watch?v=OUx6ZY60uiI
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# Tchaikovsky
> Lago dos Cisnes
https://www.youtube.com/watch?v=9rJoB7y6Ncs
> Quebra Nozes
https://www.youtube.com/watch?v=uXjAMJyeFog
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#Rimsky-Korsakov
> Scheherazade
https://www.youtube.com/watch?v=SQNymNaTr-Y
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# Stravinsky
> Sagração da Primavera
https://www.youtube.com/watch?v=jAE-EQwhkLI
https://www.youtube.com/watch?v=77xCN7vbvdE
https://www.youtube.com/watch?v=xxz1ocOEvW4
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> Keith Jarrett: THE KÖLN CONCERT
Part I
Part II A
Part II B
Part II C (nem tanto...)
https://www.youtube.com/watch?v=_KPV-_Ltn70&list=PL228E72C8E2F26E31
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Falando nisso... https://www.facebook.com/caetanodable/posts/10205352097304965
Pq não basta ser tecnicamente bom para caralho...
Tem que ser foda ao ponto de conseguir ficar a vontade para imprimir um estilo próprio e superar a rigidez de leitura/escrita da técnica (infelizmente consensual para a maioria das pessoas)!
Feito isso, cabe a nós o mísero esforço de conseguir escurar algo com o mínimo de atenção e sem a preguiça de interpretação "clássica" que atravessa quase toda música pop (conhecimento de larga difusão)...
Depois do que esses caras foram capazes de fazer, não é pedir muito né?!?
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Críticos que observam com maus olhos suas gravações do repertório barroco chamam seu Bach de romântico demais – o que ele, aliás, vê como elogio; suas escolhas de andamento e a intensidade que coloca em tudo o que toca também estão longe de ser unanimidades.
>>> “E daí?”
“O importante para mim nunca foi a técnica. Veja as novas gerações de artistas, como eles são tecnicamente impecáveis. É como se você estivesse falando com um computador. Peça para que toquem mais rápido, mais forte, mais alto, mais transparente – e eles são capazes de obedecer. É claro que desmerecer a técnica seria bobagem, precisamos dela. Às vezes, porém, ela se torna uma obsessão. Eu tenho plena consciência de que não sou dos violoncelistas de técnica mais clara, limpa, transparente. Poderia ser, se isso fosse importante para mim. Mas não é, nunca foi. A conexão emocional que a música oferece ainda é o sentido de tudo o que me proponho a fazer.”
Tem que ser foda ao ponto de conseguir ficar a vontade para imprimir um estilo próprio e superar a rigidez de leitura/escrita da técnica (infelizmente consensual para a maioria das pessoas)!
Feito isso, cabe a nós o mísero esforço de conseguir escurar algo com o mínimo de atenção e sem a preguiça de interpretação "clássica" que atravessa quase toda música pop (conhecimento de larga difusão)...
Depois do que esses caras foram capazes de fazer, não é pedir muito né?!?
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Críticos que observam com maus olhos suas gravações do repertório barroco chamam seu Bach de romântico demais – o que ele, aliás, vê como elogio; suas escolhas de andamento e a intensidade que coloca em tudo o que toca também estão longe de ser unanimidades.
>>> “E daí?”
“O importante para mim nunca foi a técnica. Veja as novas gerações de artistas, como eles são tecnicamente impecáveis. É como se você estivesse falando com um computador. Peça para que toquem mais rápido, mais forte, mais alto, mais transparente – e eles são capazes de obedecer. É claro que desmerecer a técnica seria bobagem, precisamos dela. Às vezes, porém, ela se torna uma obsessão. Eu tenho plena consciência de que não sou dos violoncelistas de técnica mais clara, limpa, transparente. Poderia ser, se isso fosse importante para mim. Mas não é, nunca foi. A conexão emocional que a música oferece ainda é o sentido de tudo o que me proponho a fazer.”
https://www.youtube.com/watch?v=wk8QNzkzwYg
saca só a diferença de pegada em relação ao Rostropovich que o Mischa já tinha desde o início!
https://www.youtube.com/watch?v=mGQLXRTl3Z0
x
https://www.youtube.com/watch?v=onQYPAVSplk
saca só a diferença de pegada em relação ao Rostropovich que o Mischa já tinha desde o início!
https://www.youtube.com/watch?v=mGQLXRTl3Z0
x
https://www.youtube.com/watch?v=onQYPAVSplk
Mendelssohn -- Barcarola (00:00)
Bach -- Preludio e fuga No. 22 (03:36)
Brahms -- Synphony No.1 in C minor op. 96 II mov (10:12)
Mozart -- Concerto for Pianoforte and Orchestra No. 19 K 459 II mov (18:18)
Caggiano -- La tomaba del Busento (24:48)
Mozart -- Sonata No.2 KV 11 (40:01)
Cherubini -- Concert Ouverture (42:51)
Brahms -- Symphony No. 1 in C minor op 68 III mov (55:08)
Chopin -- Mazurkas Op.33 No.4 (59:27)
Floridia -- Maruzza Interlude (01:04:04)
Corelli -- Concerto Grosso No. 9 op. 6 Prelude (01:07:28)
Mozart -- Eine Kleine Nachtmusik K525 II mov (01:09:21)
Mahler -- Symphony No.1 I mov (01:15:45)
Chopin -- Mazurkas op. 7 No. 1 (01:29:10)
Mendelssohn -- Concerto for Pianoforte No.1 II mov (01:31:26)
Liszt -- Legend of Saint Francis (01:38:02)
Korsakov -- S heherazade The Kalendar Prince (01:48:10)
Vivaldi -- Symphony (2:00:12)
Mendelssohn -- B. Speranza (02:02:03)
Tchaikovsky -- Nutcracker Ouverture (02:06:46)
Szymanowski -- Concerto op. 61 for viola and orchestra (02:09:48)
Vivaldi -- Symphony Al Santo Sepolcro Largo molto (02:12:18)
Tchaikovsky -- Concerto No. 2 for Pianoforte and Orchestra II tempo (02:15:03)
Telemann -- Concerto for Strings III mov (02:23:02)
Szymanowski -- Concerto for strings Op. 61 II mov (02:27:34)
Strauss -- Emperor Waltz (02:33:26)
Stamic -- Concerto for Strings I mov (02:45:07)
Weber -- Concerto for Pianoforte No. 2 II mov (02:55:48)
Telemann -- Concerto for Strings I mov (03:00:52)
Rossini -- Messa in E - Gratias (03:04:06)
Donna Lerch
EDPSY399OL
Dr. Thomas Anderson
UIUC Spring 2000
The Mozart Effect Studies
Scientific Explanations for the Mozart Effect
Conclusion
References
We are living in an exciting time of exploration into the most mysterious and complex object known to man: the brain. Recently created technological procedures such as positron emission tomography and magnetic resonance imaging now allow researchers to study the working brain in great detail. This research is rapidly increasing our understanding of various mental disorders and disabilities, of the neurological basis for behavior, of memory and learning -- of quite literally how we think.
As early as 1989, Congress noted the enormous rate at which scientific information on the brain was amassing. The sophistication of computer science which had become sufficient to process neuroscience data, maximizing usefulness to both researchers and clinicians, and the advances in math, physics, and brain imaging, led them to declare the last decade of the twenty-first century "The Decade of the Brain."
Changes in the attitudes of the scientific community have also added to this expanding collection of knowledge:
For nearly a century, the science of the mind (psychology) developed independently from the science of the brain (neuroscience). Psychologists were interested in our mental functions and capacities -- how we learn, remember, and think. Neuroscientists were interested in how the brain develops and functions. It was as if psychologists were interested only in our mental software and neuroscientists only in our neural hardware. Deeply held theoretical assumptions in both fields supported a view that mind and brain could, and indeed should, be studied independently. It is only in the past 15 years or so that these theoretical barriers have fallen. Now scientists called cognitive neuroscientists are beginning to study how our neural hardware might run our mental software, how brain structures support mental functions, how our neural circuits enable us to think and learn. This is an exciting and new scientific endeavor, but it is also a very young one. As a result we know relatively little about learning, thinking, and remembering at the level of brain areas, neural circuits, or synapses; we know very little about how the brain thinks, remembers, and learns.
John T. Bruer
One area that has generated much interest in the scientific and business communities, as well as the media, is the role (or roles) that music plays in the processes of thought and learning. There is an ever building volume of research suggesting that music may actually hard wire the brain, building links between the two hemispheres that can thereafter be utilized for a variety of cognitive activities. The effect of learning to play music is thought to be strongest in early childhood, but there may be a connection between merely listening to music and improved intelligence throughout maturity. I chose to research one aspect of this theory, and found an amazing abundance of both serious and pseudo/commercial scientific literature.
People interested in easy ways to boost the IQs of themselves and their children, along with entrepreneurs whose apparent motivation centered on easy profits, eagerly embraced a recently released pop psychology book by Don Campbell called "The Mozart Effect : Tapping the Power of Music to Heal the Body, Strengthen the Mind and Unlock the Creative Spirit" .
Campbell based his book loosely on:
- The works of Dr. Alfred Tomatis, a French Ear, Nose, and Throat Doctor that hypothesized the lack of sound stimulation, or abnormal stimulation in utero and/or early childhood can cause aberrant behaviors and delayed or disabling communication skills
- Common music therapy experimentation
- The title topic, which I have chosen to scrutinize: research specifically involving the works of Wolfgang Amadeus Mozart
While the proposition that listening to Mozart's music increases I.Q. might actually have some merit, the benefits that Campbell promotes are overstated and generally unfounded. Michael Linton, professor of Music Theory and Composition at Middle Tennessee State University wryly observed, "Trademarking the name "Mozart Effect," Campbell has even gone cable with infomercials for his book and its accompanying compact discs and cassettes. In the great tradition of P. T. Barnum and the "Veg-O-Matic", Mozart has now hit the mainstream of American life."
Indeed, the book, along with subsequent speaking engagements, CDs, tapes, and a well orchestrated media blitz, has created the impression that listening to the music of Mozart will magically "increase verbal, emotional and spatial intelligence, improve concentration and memory, enhance right-brain creative processes and strengthen intuitive thinking skills", as the promotion for one of the many Mozart Effect CDs promises.
While Campbell's book and the unfortunate mass of commercially motivated hyperbole it has generated are generally aimed at an unsophisticated audience, there is serious research that suggests that music does have a impact on cognitive ability.
Early experimentation on the effect of music on the brain was conducted in 1988, when neurobiologist Gordon Shaw, along with graduate student Xiaodan Leng, first attempted to model brain activity on a computer at the University of California at Irvine . They found in simulations that the way nerve cells were connected to one another predisposed groups of cells to adopt certain specific firing patterns and rhythms. Shaw surmises that these patterns form the basic exchange of mental activity. Inquisitively, they decided to turn the output of their simulations into sounds instead of a conventional printout. To their surprise, the rhythmic patterns sounded somewhat familiar, with some of the characteristics of baroque, new age, or Eastern music.
Shaw hypothesized: If brain activity can sound like music, might it be possible to begin to understand the neural activity by working in reverse and observing how the brain responds to music? Might patterns in music somehow stimulate the brain by activating similar firing patterns of nerve clusters?
He later joined two other researchers, Frances Rauscher and Katherine Ky, in creating the study that coined the term "Mozart Effect". In the October 14, 1993, issue of "Nature" they published a short summary of the findings from their experiment. They assigned thirty six Cal-Irvine students to one of three groups, and offered the same "pretest" to each of the students. One group then listened to a selection by Mozart (Sonata in D major for Two Pianos, K488). A second group listened to what was called a "relaxation tape," and the third group was subjected to ten minutes of silence. All of the students were given the same test, which was designed to measure spatial IQ. This test is described as mentally unfolding a piece of paper is that has been folded over several times and then cut. The object is to correctly select the final unfolded paper shape from five examples. The students who listened to the Mozart sonata averaged an 8&endash;9 point increase in their IQ as compared to the average of the students who had listened to the relaxation tape or who had experienced silence. The increase in IQ of the Mozart group was transitory, lasting only about the time it took to take the test-- from ten to fifteen minutes.
This test stirred enough interest in the academic community to induce several other research teams to conduct similar experiments, with disparate results.
In 1994, Stough, Kerkin, Bates, and Mangan, at the University of Aukland, failed to produce any Mozart effect. This may be due in part to the fact that the spatial IQ test used in New Zealand was from Raven's Advanced Progressive Matrices, while the Rauscher et al. study used the Stanford-Binet Intelligence Scale. However, Kenealy and Monseth (1994) did use the same test (Stanford-Binet) to measure the thirty subjects they used in their study; these subjects showed no mean differences in scores after listening to Mozart, disco music, and silence.
Rauscher, Shaw, and Ky reproduced and augmented their original Mozart Effect experiment in 1995, by dividing seventy-nine students into three groups. This time a work by the modern experimental composer Philip Glass was substituted for the relaxation tape. Again, the group that listened to the Mozart selection showed an increase in spatial IQ test scores. A further test showed that listening to other types of music (non-specified "dance" musis) did not have the same effect.
In 1995, researchers (Newman, Rosenbach, Burns, Latimer, Matocha, and Vogt) at State University of New York at Albany replicated the original test. They broadened the test group to 114 subjects, and the age spread from 18 to 51 years with a mean age of 27.3. Not only did they find no similar increase in spatial IQ scores after listening to Mozart, but they also polled the subjects on previous musical background, and found no correlation to higher spatial IQ scores and music lessons earlier in life, or a correlation to higher spatial IQ scores and a preference for classical music.
Similar results were found the same year in a study by two Canadian University researchers, Nantais and Schellenberg. They reproduced the fundamental Mozart Effect experiment, and extended the study to investigate the relationship between listening to other forms of music and IQ. They found that the listener's preference--to either music or the narration of a story, and not particularly listening to Mozart, made for improved test performance.
In 1996 and 1997, however, two studies at Ursinus College in Collegeville, Pennsylvania, by Rideout and Taylor supported and added further evidence to suggest a "Mozart effect". One study replicated the Rauscher et al. study and, using two different spatial-reasoning tasks, measured higher spatial IQ scores after listening to a Mozart selection. In the other study, Rideout and Laubach required 8 college students to listen to a Mozart piano sonata in one condition and no music in another condition. They measured changes in EEG ( brain wave activity) prior to listening to the Mozart and then again after listening to the Mozart while engaged in two spatial-reasoning tasks. The EEG recordings were somewhat correlated with the students' performance, as increased brain activity was associated with an increase in spatial-reasoning performance after listening to the Mozart.
In 1998, Rideout, this time with Dougherty and Wernert, found that music with characteristics similar to the works of Mozart provided the same increase in temporary spatial IQ test scores.
Two other studies, both published in 1997, contradicted the "Mozart effect". Kenneth Steele, Ball, and Runk of Appalachian State University presented 36 college students a backwards digit span task, described as recalling 9-digit strings in reverse order, in three conditions--after listening to Mozart music, a recording of rain, or silence. The results found no difference between these three conditions. Carlson, Rama, Artchakov, and Linnankoski of the Institute of Biomedicine affiliated with University of Helsinki, Finland, chose monkeys to see if any "Mozart effect" would show up in another animal. He used a memory task to test various experimental conditions including Mozart music, simple rhythms, white noise, and silence. The results were intriguing. The monkeys actually performed highest in the white noise condition and lowest in the Mozart music condition.
Perhaps inspired by the Carlson et al. test using monkeys, Rauscher and her colleagues chose to study the "Mozart effect" on laboratory rats in 1998. These rats were exposed both in utero and for two months postpartum to Mozart's piano sonata. The other comparison groups included rats that were exposed in the same time frame to minimalist music, white noise, or silence. The rats who were exposed in the Mozart group learned to maneuver a T-maze considerably faster and with fewer errors than rats in the other three groups.
Christopher Chabris, in 1998 a graduate student at Harvard University (now a research fellow at Harvard Medical School and Massachusetts General Hospital), questioned the net result of studies on the Mozart effect that had been done over the previous five years. He examined sixteen of the studies and analyzed their conclusions. "The results do not show any real change in I.Q. or reasoning ability. There's a very small enhancement in learning a specific task, such as visualizing the result of folding and cutting paper, but even that is not statistically significant. The improvement is smaller than the average variation of a single person's I.Q. test performance." His conclusion was that "There's nothing wrong with having young people listen to classical music, but it's not going to make them smarter."
Other skeptics have been convinced that a Mozart effect does exist. Lois Hetland of the Harvard Graduate School of Education attempted to replicate earlier Mozart effect studies in broader depth, including a total of 1014 subjects. Her findings were that the Mozart listening group outperformed other groups by a higher margin than could be explained by chance, although factors such as the subject's gender, musical tastes and training, innate spatial ability, and cultural background made a difference in the degree to which the Mozart would increase test scores. She did not find the Mozart effect to be as strong as Rauscher et al. had found, however. Her belief, however, is that even these small effects are impressive because so many other factors could obscure them. "In the early stages of research in a field, we would expect the measured effect to be small until we learn to separate the signal from the noise in the research method." She noted that Chabris had only studied the experiments that compared listening to Mozart to silence, and which had not included listening to other compositions.
Psychologist Eric Seigel at Elmhurst College, Illinois, (who had been a self-described skeptic), set out to disprove the Mozart Effect. He chose a different spatial reasoning test, one that involves the subject's ability to discriminate between shifted positions of the letter E as various rotations are given. The brief time that it takes to judge whether the letter is the same or different effectively measures spatial reasoning. Subjects in the Mozart listening group did significantly better. "It was as though they had practiced the test...we have another way to measure the Mozart Effect" says Seigel.
Rauscher and Shaw explained the inconsistent results of the Mozart effect tests in a work published in Perception and Motor Skills (1998) , Vol. 86, p. 835-841). They stated that the reason the results do not concur is that the various studies designed to find the "Mozart effect" have utilized diverse subjects and different methodological designs, such as music compositions, listening conditions, and measures.
The most recent Mozart effect study was by Kenneth Steele of Appalachian State University, this time with Karen Bass and Melissa Crook in 1999. They chose to precisely replicate the 1995 Rauscher et al. with the rationale that "the comparison was methodologically cleaner than the 1993 study published in Nature" (Steele).
The results:
The experiment compared the performance of 44 college students who had just listened to the Mozart piano sonata against 39 students who had just listened to a performance by Phillip Glass and 42 students who had waited an equivalent time period in silence. The two musical selections used the same performances used in the 1995 study. Immediately after exposure to a listening condition, all subjects were tested on their ability to solve paper-folding and cutting items, the task used in both original experiments. A paper-folding and cutting item is a visual puzzle that represents a piece of paper undergoing a series of fold and cut transformations on the top row of a display. On the bottom row are several possible outcomes of this folding and cutting sequence. The task for the subject is to pick the outcome that would be produced by the changes in the top row. The subjects had training with this task in a prior session, consistent with the procedure used in the 1995 UCI study. On average, the students answered 10 of 16 items correctly in the training session and 12 of 16 items correctly in the experimental session, on average. This general improvement from the training session is a "practice" effect, reflecting familiarity with the task and indicating the importance of evaluating changes against comparison or "control" conditions. The average number of correct answers in the experimental session was 11.77 for the Mozart group, 11.6 for the Silence group, and 12.15 for the Glass group. These small differences were not statistically different, failing to support the original experiment. An additional statistical technique that checked for differences in individual improvement also produced non-significant results. Gary Kliewer
Steele seems to have taken offense at Rauscher's defensive stance of her research, saying, "There has been considerable concern about the existence of the Mozart Effect among researchers, despite its popular acceptance by politicians and educators. Several immediate attempts in other laboratories in England, New Zealand, and the United States to produce the effect were fruitless...Replication is one of the most important items in the scientist's toolbox. This experiment took investigators back to a common starting place, the UCI experiments, and the results showed that the effect was not present. This experiment, in combination with several others, suggests strongly that the original positive reports were in error."
What sense can be made of all this conflicting information?
One ought not to be concerned about the current lack of consensus, because this is a normal part of the scientific enterprise. Rather, we should be delighted that the subject has become important, because it has been largely ignored in the past. We can look forward to exciting developments in the search to fully understand the roles of music in cognitive processes and behavior.
N. M. Weinberger
While no definitive results have yet been attained, scientists who are gaining knowledge of the neurological wirings and workings of the brain, as well as those trained in the science of the mind and behavior, are slowly beginning to develop theories as to why music might have an effect on intelligence.
Neurological Basis
Rauscher et al. hypothesized that the effect of music on intelligence may be explained by the initial research by Shaw and Leng that proposed hearing complex music actually excites the cortical firing patterns that are analogous to those used in spatial reasoning.
"The researchers were testing the suspicion that there might be a kind of "music box" analogous to Chomsky's famous yet-undiscovered "language box." Might the symmetries and patterns characteristic of music be fundamentally connected to the symmetries and patterns researchers were tracking in brain waves? If so, might not music really be tapping into a structure inherent in the brain itself? And if this were true, ultimately might music be a kind of fundamental, or pre-linguistic--or even supra-linguistic--speech?"
Michael Linton
Musical perception is processed in the right hemisphere of the brain--the same hemisphere that performs spatial cogitation and long-term sequencing operations. "Musical perception does involve the analysis of spatial excitation patterns along the auditory receptor organ.." (Roederer)
Other researchers agree that there are neurological foundations for music's effects on cognitive ability. John Hughes, a neurologist at the University of Illinois Medical Center in Chicago, examined hundreds of compositions and concludes that music sequences that regularly repeat every 20 - 30 seconds, just as Mozart's compositions do prevalently, "may trigger the strongest response in the brain, because many functions of the central nervous system such as the onset of sleep and brain wave patterns also occur in 30-second cycles." He notes that Minimalist music by the composer Philip Glass and popular tunes score among the lowest on this measure, while music of Mozart scores two to three times higher.
Hughes used Mozart's music on a group of patients described as severely epileptic, constantly seizing to the point of being comatose. Twenty-nine out of the 36 subjects showed significant improvement by suffering fewer and less severe seizures when listening to Mozart. The same test group showed no improvement while they listened to a Glass composition, popular melodies from the 1930's, or silence. "Skeptics could criticize the IQ studies," Hughes says, "but this is on paper: you can count discharges and watch them decrease during the Mozart music."
Julene Johnson of the Institute of Brain Aging and Dementia at the University of California at Irvine found that people that suffer from Alzheimer's disease show improvement on the paper folding portion (measuring spatial IQ) of the Stanford-Binet Intelligence Scale after 10-minute portions of Mozart, but not after silence or popular music from the 1930s. Patient's scores generally improved by a margin of 3 to 4 correct answers out of 8 test items.
Neurobiologist Gordon Shaw, co-researcher of the original Mozart effect joined fellow neurobiologist Mark Bodner of the University of California at Los Angeles in a study using magnetic resonance imaging (MRI) to chart the regions of subjects' brains to determine the specific area that responds while listening to various types of music. They used the Mozart Sonata in D major for Two Pianos K488, some '30s pop music, and Beethoven's Für Elise. Shaw and Bodner found that all the styles of music activated the auditory cortex (where the brain processes sound) and periodically triggered the parts of the brain that are associated with emotion. Only the Mozart, though, also activated areas of the brain known to process fine motor coordination, vision, and other higher thought processes, all of which could explain improved spatial reasoning.
Christopher Chabris, the skeptic who steadfastly maintains that a Mozart effect does not exist observes, "this effect, if indeed there is one, is much more readily explained by established principles of neuropsychology--in this case, an effect on mood or arousal--than by some new model about columnar organization of neurons and neuron firing patterns".
Psychological Basis
Nantais and Schellenberg also have a alternate theory, based from a psychologist's perspective:
On the surface, the Mozart effect is similar to robust psychological phenomena such as transfer or priming. For example, the effect could be considered an instance of positive, nonspecific transfer across domains and modalities (i.e., music listening and visual-spatial performance) that do not have a well-documented association. Transfer is said to occur when knowledge or skill acquired in one situation influences performance in another (Postman, 1971). In the case of the Mozart effect, however, passive listening to music-rather than overt learning--influences spatial-temporal performance.
Kristin M. Nantais and E. Glenn Schellenberg
Maria Spychiger of the University of Fribourg, Switzerland concurs with this theory. She asked an incisive question. "…why does no one even ask … whether maths can improve the mind? Or whether language could? Probably, these questions are too silly or strange; everyone knows the answer is 'yes'."
Spychiger conducted a study which showed that children given a curriculum which increased music education and decreased language and mathematics improved at language and reading, and did no worse at math than students who had increased time on these "academic" subjects without the additional music instruction. Spychiger theorized that the transfer effects between music and other subjects was probably specific and based on the similarities between the two activities, just as are many other known transfer effects.
Thus, instead of speaking about "music's" effects, one needs to determine which aspects of music account for which transfer effects. This position heralds the theme that the effects of music cannot be understood unless one specifies which components of the musical experience may be relevant to specific aspects of other tasks or areas. An example is music's facilitation of learning to read. This is believed to result from learning to listen for changes in pitch in music, which is thought to promote the ability to sound out new words.
Norman M. Weinberger
Sensory Stimulation
Another explanation for increased test scores after listening to music would be the established theory of sensory stimulation. Stimulation excites the brain. It propagates more synapses between brain cells, ultimately creating more and more efficient conduits of brain function. Research indicates that there are "windows" of prime times for this activity. Most of the studies conducted so far demonstrate that much of this hard wiring occurs prenatally and in early childhood. However, new studies are ever increasingly discovering that the brain can create new neural pathways long after childhood.
When the brain is deprived of proper stimulation, it is believed that the neural pathways atrophy and ultimately are lost. Robert Dolman. M.D., founder of the National Academy for Child Development, stated,"Sensory deprivation studies show us that sudden and nearly complete deprivation of stimulation through the five senses can lead to dramatic changes in the brain's efficiency with a partial loss of memory, a lowering of the I.Q., and personality changes..." G. F. Reed, after analyzing studies of the cognitive effects of sensory deprivation, adds documentation. He found that subjects tested lower on most parts of tests of complex intellectual processes after periods of sensory deprivation, noting that "..logical, analytical thought, based on verbal symbols, deteriorates at the same time that there is more involuntary imagery in various sensory modalities, particularly the visual....stimulus deprivation appears to increase the kind of information processing (such as) intuitive, configurational procedures at the expense of analysis, language, and logic."
Music is aural stimulation. The "successful" Mozart effect studies at best indicated that one area of cognitive processing increased only for a very short time, after listening to music for a short period of time. However, this does lead to speculation that listening to certain types of music will facilitate and improve mental function. Many people express an increased ability to concentrate when certain background music is played. Karen Allen, associate director, and Jim Blascovich, associate professor of psychology research associate with the University of Buffalo, NY Center for the Study of Biobehavioral and Social Aspects of Health found that surgeons performed a basic surgeon-related task better and more efficiently while listening to music.
The music of Wolfgang Amadeus Mozart is both physically and aesthetically accessible to the general public. A number of studies have indicated that listening to Mozart's work may temporarily increase cognitive skills. Other studies have found no statistically significant "Mozart effect". It is unfortunate that the media and commercial ventures have taken the initial modest, unverified study and conjured up a pseudo-science which gave rise to, and which continues to promote, a full-blown industry.
Exaggerated and even false claims that listening to Mozart's music will augment intelligence have become so prevalent that the truth of the matter has become hopelessly obscured. This has been a disservice to legitimate scientists, music therapists, and the public.
Music educators should be aware of the controversy, and neither center music curricula around certain types of music for maximum intelligence building, nor exclude the possibility that there may be a link between listening to music and intelligence. There needs to be further serious research into this intriguing area of science, and far less unsubstantiated, profit motivated action.
5/6/00
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Music and Learning: Integrating Music in the Classroom
by Chris Boyd Brewer
The following article is reprinted from the book Music and Learning by Chris Brewer, 1995. This book includes chapters on each method of integrating music in the curriculum. Music suggestions are included.
RESONATING WITH OUR LEARNING"Music is the electrical soil in which the spirit lives, thinks and invents." --Ludwig van Beethoven
We all know how greatly music affects our feelings and energy levels! Without even thinking about it, we use music to create desired moods-- to make us happy, to enjoy movement and dance, to energize, to bring back powerful memories, to help us relax and focus. Music is a powerful tool for our personal expression within our daily lives-- it helps "set the scene" for many important experiences.
Throughout time, people have recognized and intentionally used the powerful effects of sound. In the 20th century the western scientific community has conducted research to validate and expand our analytical knowledge of music. This research supports what we know from personal experience: Music greatly affects and enhances our learning and living!
Research continues to be conducted to provide helpful guidelines for our intentional use of music, especially in the classroom. This article, based on extensive research and experiences, will provide you with successful and valuable guidelines for incorporating music into the teaching and learning environment-- applicable to all ages and educational settings.
BRINGING EDUCATION TO LIFE WITH MUSIC
How is it that for most people music is a powerful part of their personal life and yet when we go to work or school we turn it off? The intentional use of music in the classroom will set the scene and learning atmosphere to enhance our teaching and learning activities. Plus, using music for learning makes the process much more fun and interesting! Music, one of the joys of life, can be one of the joys of learning as well. The following pages give you suggestions for when and how to use music during your teaching or training. With these techniques, you, the teacher, can orchestrate a classroom environment that is rich and resonant-- and provide learners with a symphony of learning opportunities and a sound education!
Music helps us learn because it will--
- establish a positive learning state
- create a desired atmosphere
- build a sense of anticipation
- energize learning activities
- change brain wave states
- focus concentration
- increase attention
- improve memory
- facilitate a multisensory learning experience
- release tension
- enhance imagination
- align groups
- develop rapport
- provide inspiration and motivation
- add an element of fun
- accentuate theme-oriented units
Here are three areas of teaching where integrating music can be highly effective. For each intent, there is a rich repertoire of classroom techniques that can be used simply and easily by anyone-a brief example is given in each. These techniques work for people of all ages and from many societies. The very young, teens and adults will experience an increase in their effectiveness and joy of learning from these uses of music.
- LEARNING INFORMATIONMusic can be used to help us remember learning experiences and information. In Active Learning Experiences music creates a soundtrack for a learning activity. The soundtrack increases interest and activates the information mentally, physically, or emotionally. Music can also create a highly focused learning state in which vocabulary and reading material is absorbed at a great rate. When information is put to rhythm and rhyme these musical elements will provide a hook for recall. Here are three ways we can use music to help us learn information:
- Active Learning Experiences
Music will activate students mentally, physically, and emotionally and create learning states which enhance understanding of learning material. For example, play music with an association for your topic in the background while reading a concise summary of the important information. The more interesting and dramatic, the more easily the information is remembered. In a social studies class, I have read Chief Joseph quotes and a brief synopsis of his tribes' famous journey toward Canada while playing native music in the background. This introduction to the "Last Free Days of the Nez Perce" is powerful and memorable because the music helps students to appreciate the experience and set the mood. To activate information physically, play upbeat music during a related movement activity or role-play. For example, while learning about the flow of electrons in electricity, I play Ray Lynch'sCelestial Soda Pop while we create a classroom flow of electricity. Some students are stationary neutrons and protons while others are moving electrons. When we add "free electrons" like a battery would, the electrons begin flowing and voila! we have an electrical current! Ray Lynchs' upbeat music keeps us moving and makes the role play more fun. - Focus and Alpha State Learning
Music stabilizes mental, physical and emotional rhythms to attain a state of deep concentration and focus in which large amounts of content information can be processed and learned. Baroque music, such as that composed by Bach, Handel or Telemann, that is 50 to 80 beats per minute creates an atmosphere of focus that leads students into deep concentration in the alpha brain wave state. Learning vocabulary, memorizing facts or reading to this music is highly effective. On the other hand, energizing Mozart music assists in holding attention during sleepy times of day and helps students stay alert while reading or working on projects.
- Memorization
Songs, chants, poems, and raps will improve memory of content facts and details through rhyme, rhythm, and melody. Teaching these to students or having them write their own is a terrific memory tool!
- Active Learning Experiences
- ATTENTION, ATTITUDE AND ATMOSPHERE(The Three A's) Preparing for a learning experience can make the difference between lessons well-learned and just passing time. Certain music will create a positive learning atmosphere and help students to feel welcome to participate in the learning experience. In this way it also has great affect upon students' attitudes and motivation to learn. The rhythms and tempo of musical sound can assist us in setting and maintaining our attention and focus by perking us up when we are weary and helping us find peace and calm when we are over-energized in some way. Here are two ways to use music for attitude, attention and atmosphere:
- Welcoming and Attention
Background music is used to provide a welcoming atmosphere and help prepare and motivate students for learning tasks. Music can energize lagging attention levels or soothe and calm when necessary. Simply playing music as students enter the classroom or as they leave for recess or lunch totally changes the atmosphere. Depending on the music, you can enliven, calm, establish a theme or even give students content information with content-songs! - Community Builders
Music provides a positive environment that enhances student interaction and helps develop a sense of community and cooperation. Music is a powerful tool for understanding other cultures and bonding with one another. Selecting and playing a classroom theme song, developing a classroom "ritual"---such as a good-bye or hello time that uses music, or other group activities with music are ways to build lasting community experiences.
- Welcoming and Attention
- PERSONAL EXPRESSION
Music is the doorway to the inner realms and the use of music during creative and reflective times facilitates personal expression in writing, art, movement, and a multitude of projects. Creation of musical compositions offers a pathway to expressing personal feelings and beliefs in the language of musical sound. Here are two ways music can help us express ourselves:- Creativity and Reflection
Background music is used to stimulate internal processing, to facilitate creativity, and encourage personal reflection. Playing reflective music, such as solo piano in either classical or contemporary styles, as students are writing or journalling holds attention for longer periods of time than without the music. In one study, students wrote twice as much with music than without!
- Creativity and Reflection
- Personal Expression through the Musical Intelligence
The creation of music expresses inner thoughts and feelings and develops the musical intelligence through understanding of rhythm, pitch, and form. Writing songs related to content allows students to express how they feel about issues brought up in historic incidents, social studies topics or literature. Students can also create an instrumental "soundtrack" with simple rhythm instruments that auditorily portrays a particularly important scientific discovery, a poignant historical event, or the action within a novel.
- Personal Expression through the Musical Intelligence
As you begin to resonate with your new musical classroom experiences, you may find transformations occurring in other aspects of your life. Your students may share with you wonderful experiences occurring in their lives because of doorways which were opened through the inclusion of music in the learning process. When this happens, celebrate and bless the connections to life meaning that has occurred. Everything that we do as teachers has echoes and reverberations that contribute to the whole of life. If there are no echoes it may mean that what we are teaching has less meaning than we thought. Expect and enjoy the miracles that occur!
LEARNING THEORY AND MUSIC
Educational theorists have long sought answers to the question of how we can best teach students to learn well. Models for teaching have evolved and will no doubt continue to be developed. Some of today's' leading learning technologies embrace the use of music to assist in learning. Nearly all methods can be enhanced through the use of music. The guidelines provided in this book can help teachers and trainers learn how to use music no matter what learning methods are being used. Special note is given here to three successful learning models in which the use of music is particularly relevant.
THE MULTIPLE INTELLIGENCES
In 1983 Howard Gardner, psychology professor at Harvard University, presented his Multiple Intelligence theory based upon many years of research. Promoting the concept that intelligence is not one entity but that there are many different forms of intelligence, Gardner has awakened a revolution in learning. Multiple Intelligence teaching methods recognize eight (though there may be more) forms of intelligence: visual-spatial, linguistic, logical-mathematical, bodily-kinesthetic, interpersonal, intrapersonal, musical, and most recently naturalist. Multiple Intelligence teachers strive to broaden students familiarity and skill levels in each area.
The Multiple Intelligence teaching model emphasizes education for understanding rather than rote memory or the mimicking of skills. Practical hands-on skill development is coupled with factual knowledge and the ability to apply skills and information in real-life situations and make meaningful contributions to society.
Development of the musical intelligence can be greatly aided by the use of music throughout the curriculum. In addition to learning about musical elements and how to create music, the musical intelligence involves developing an ability to respond to musical sound and the ability to use music effectively in one's life. As a musician who has taught general music in public and private schools I can speak to the value of having students hear music throughout the school day as a means of increasing musical intelligence. The more students listen and respond to a variety of music, the more they will know about music on a personal, real-experience level, the deeper will be their understanding of why people throughout time and around the world create music, the greater will be their ability to use music productively in their lives, and the more eager they will be to develop their musical skills because they will understand, appreciate and enjoy music more!
As a music teacher, I can say that the methods for using music in the classroom not only enhance the learning process but also contribute to the development of the musical intelligence.
ACCELERATED LEARNING
In the 1960's, Dr. Georgi Lozanov and Evelyna Gateva researched ways to increase memory abilities including the use of music in the classroom. Their successes caught the attention of the world. Teaching techniques developed from their creative experiments and today we have a solid format for effective multisensory and whole brain learning called Accelerated Learning. This book does not describe the full philosophy or method designed by Lozanov. It will, however, draw upon the knowledge of music in Lozanov's method to share successful ways of using music for learning.
The use of background music during lectures, vocabulary decoding, or group readings is a cornerstone of Accelerated Learning techniques. Two methods for using music, designed to create very different but equally effective learning environments, were developed through Lozanov's methods. They are called concerts. The Active Concert activates the learning process mentally, physically and/or emotionally while the Passive Concert is geared to place the student in a relaxed alpha brain wave state and stabilize the student's mental, physical and emotional rhythms to increase information absorption. Both teaching methods result in high memory retention. Used together the two concerts provide a powerful learning experience.
Another component of Accelerated Learning techniques is the recognition that the learning setting and student comfort level with learning is of great importance to student success. Lozanov's methods included using music as students enter the classroom, leave the classroom and during break times to help establish a positive learning atmosphere.
TURNING MUSIC ON IN YOUR CLASSROOM
You will find many ideas that feel comfortable and exciting to you in this book. You will probably also find techniques that do not resonate for you. Keep in mind that you do not have to use music in all the ways presented here in order to be effective in enhancing learning through music. The addition of even one music technique in your classroom will add richness and improve the learning process. My suggestion is for you to begin your musical journey by incorporating one technique that resonates greatly with your teaching style. When you have mastered this use of music in your classroom, go on to explore a new method. Your students enthusiasm and response will be a guideline and incentive for future ideas and uses.
Music for Learning Suggestions
Focus and Concentration Music
Play as background music while students study, read, or write to:
· increase attention levels
· improve retention and memory
· extend focused learning time
· expand thinking skills
- Relax with the Classics. The LIND Institute. Accelerated Learning research indicates slow Baroque music increases concentration. It works!
- Velvet Dreams. Daniel Kobialka's exceptional music-favorite classics such as Pachelbel's Canon at a very slow tempo.
- Celtic Fantasy. Kobialka uses the warmth of Celtic music played slowly to facilitate relaxed focus.
- Music for Relaxation. Chapman and Miles. Quietly sets a calming mood.
- Baroque Music to Empower Learning and Relaxation. The Barzak Institute uses slow and fast Baroque era music to hold attention.
- Mozart and Baroque Music. The Barzak Institute. A useful compilation with 30 minutes of Mozart and 30 minutes of Baroque music.
- Mozart Effect: Strengthen the Mind Enhance Focus with Energizing Mozart, selected by Don Campbell.
- An Dun. Calming the Emotions Chinese music that actually does calm and appeals to all ages.
- Accelerating Learning. Steven Halpern's music assists learners in focus and is good background for reading-free-flowing and peaceful.
Play as background for activities such as:
· journalling or writing
· problem-solving or goal-setting
· background for project work
· brainstorming
- Pianoforte. Eric Daub. This thoughtful classical piano music sets the tone for introspective creativity and processing. Excellent!
- Medicine Woman I or II. Medwyn Goodall gives us music to delve into deep thoughts and meaningful feelings.
- Oceans. Christopher Peacock. Motivating and great team-building music.
- Mozart Effect: Relax, Daydream and Draw. Don Campbell's collection of reflective Mozart for gently enhancing creativity.
- Fairy Ring. Mike Rowlands' touching music in a classical style. Long cuts hold the mood. Good for reading with important information or stories.
- Living Music and Touch. Michael Jones uses solo piano music to encourage reflection.
Play as background for entries, exits, breaks. Use to:
· greet your students
· create a welcoming atmosphere
· set a learning rhythm
· expand musical awareness
- Dance of the Renaissance. Richard Searles. Delightful music of 15th-17th century England. This upbeat music appeals to all ages.
- Emerald Castles. Richard Searles. Pleasing sounds of the Celtic countries played on acoustic instruments.
- 1988 Summer Olympics. Various rock songs from the Olympics that inspire.
- Celtic Destiny. Bruce Mitchell. Dynamic instrumental Celtic music. Stimulating with a variety of paces.
- Sun Spirit. Deuter. Delightful flute music that energizes melodiously.
- The Four Seasons. Vivaldi Beautiful melodies to set a warm mood no matter what the season.
- Boundaries. Scott Wilkie. Relaxed jazz to set a an easy-going learning pace.
- Echoes of Incas. Ventana al Sol. Joyful South American melodies and rhythms open the door to learning.
Use for a sound break or movement activities to:
· increase productivity
· energize students during daily energy lulls
· provide a stimulating sound break to increase attention
· make exercise more fun
· encourage movement activities
- Tunes for Trainers. An all-in-one CD with categories of Fun Stuff, Energy Break, Brainstorm, Quiet moods and more.
- Jazzy Tunes for Trainers. A versatile compilation with lively background music for a wide variety of teaching and training activities.
- Earth Tribe Rhythms. Brent Lewis. This wonderful rhythmic music is played on 20 tuned drums for both rhythm and melody. Great for any movement activities.
- Best of Ray Lynch. Ray Lynch A classic electronic and acoustic recording that adds fun and interest. Useful for topic associations.
- Funny 50's and Silly 60's. Old songs that are just plain fun like Purple People Eater, Wooly Bully and more.
- Hooked on Classics. The beat that doesn't quit! Great for body and brain wakeups.
- Earth, Sea, and Sky. Nature recordings. Provides a variety of sounds.
- Best of World Dance Music. Hopping happy music from everywhere. Some vocal and some instrumental.Music selected by Chris Brewer, LifeSounds. To order call 561-575-0929 or email music@us-it.net CDS $16 Cassettes $11
for using music to enhance learning!
"Take a music bath once or twice a week for music is to the soul
what water is to the body."
-- Oliver Wendall Holmes
Here are sound directions on how using Relax with the Classics in the classroom for focus, concentration and memory.
Relax with the Classics from the LIND Institute
These slow, Baroque selections are between 55 and 80 beats per minute. Research has shown that this music will help you maintain focus and concentration. It assists you in reaching the alpha brain wave state, a state which enhances learning and memorization.
Use this music
· during writing or reading activities
· with Passive Concerts in Accelerated Learning teaching and training (for more information, see Music for Learning, by Chris Brewer)
· Pachelbel's Canon in D is especially useful for synthesizing and summarizing activities (such as the Overhead/Power Point Review form of Passive Concerts)
· during tests, goal-setting
· for mind-calming exercises
· to relax
Tips for Memorizing Words, Terms Facts (Passive Concert):
· Select text important to the content such as explanatory information (text from a book or reading), words and their definitions, or a metaphorical story.
· Ask your participants to sit comfortably and give them time to settle in, close their eyes, sit back, etc. Let them know they will be hearing music for a minute or two and then you will begin your reading.
· Begin the music and let it play for a minute or two. Then begin to read your content information slowly and in a calm voice that is loud enough to be heard above the music. The music and your voice should be about equal or your voice should be slightly louder. If reading words and definitions, pause for a mental count of 4 between sets of words. Keep your reading to 30 words/definitions or 3-5 minutes or text-less for young students.
· When you have completed your reading, allow the music to play for a minute or two after you have finished speaking, then slowly turn the volume down on the CD player.
Tips for the Overhead/Power Point Review:
· Place the overheads or Power used in your unit lesson in the order in which they were first presented or go back to your PowerPoint presentation visuals to where you want to begin. Colors and images on the visuals also help memory.
· Explain to students that they will be reviewing the information learned in your unit by reviewing the presentation visuals. Let them know that there will be no talking during this review, only music.
· Ask students to sit comfortably and give them time to settle in and relax.
· Begin the music and display each visual for approximately 7 seconds, slightly longer if the visual is complex (visuals should not include large amounts of text!). Continue to display visuals until all have been seen. Let the last one remain on the screen for slightly longer, turn off the projector and let the music play for another 30 seconds. Slowly turn the music down to signal the end of the review.
Music Bibliography and Suggested Reading
Abramson, Robert M. Rhythm Games Book I. New York: Music and Movement Press, 1973.
Andersen, Ole, Marcy Marsh and Dr. Arthur Harvey. Learn with the Classics: Using Music to Study Smart at Any Age. LIND Institute, San Francisco, California: 1999.
Bamberger, Jeanne. The Mind Behind the Musical Ear: How Children Develop Musical Intelligence. Boston, Massachusetts: Harvard University Press, 1991.
Berard, Guy, M.D. Hearing Equals Behavior. New Canaan, Connecticut: Keats Publishing, 1993.
Bjorkvold, Jon-Roar. The Muse Within: Creativity and Communication, Song and Play from Childhood through Maturity. New York: HarperCollins, 1989.
Brewer, Chris. Music and Learning: Seven Ways to Use Music in the Classroom. Tequesta, Florida: LifeSounds, 1995
Campbell, Don G. Introduction to the Musical Brain, 2nd edition. St. Louis, Missouri: MMB Music Inc., 1983.
_______. The Mozart Effect. New York: Quill/HarperCollins, 1997.
_______. The Mozart Effect For Children. New York: Morrow/HarperCollins, 2001.
_______. 100 Ways to Improve Teaching Using Your Voice and Music: Pathways to Accelerate Learning. Tucson, AZ: Zephyr Press, 1992.
_______. Music: Physician for Times to Come. Wheaton, Ill: Quest books, 1991.
Copland, Aaron. What to Listen for in Music. New York: Penguin, 1988.
Gilbert, Anne Green. Teaching the Three R's through Movement Experiences: A Handbook for Teachers. Seattle, Washington: Anne Gilbert, 1977.
Jensen, Eric. Music with the Brain in Mind. San Diego, California: The Brain Store, Inc. 2000
Mathiew, W.A. The Listening Book: Discovering Your Own Music. Shambhala, 1991.
Merritt, Stephanie. Mind, Music and Imagery: Unlocking the Treasures of Your Mind. Santa Rosa, California: Aslan Publishers, 1996.
Miles, Elizabeth. Tune Your Brain: Using Music to Manage Your Mind, Body, and Mood. NY, New York: Berkley Publishing Group, 1997.
Ortiz, John M. The Tao of Music: Sound Psychology. York Beach, Maine: Samuel Wiser, Inc. 1997.
_______.Nurturing Your child with Music: How Sound Awareness Creates Happy, Smart and Confident Children. Hillsboro, Oregon: Beyond Words Publishing, 1999.
Sabbeth, Alex. Rubber-Band Banjos and a Hava Jive Bass: Projects and Activities on the Science of Music and Sound. New York: John Wiley & Sons, 1997.
Steiner, Rudolf. The Inner Nature of Music and the Experience of Tone. New York: Anthroposophic Press, 1987.
Storms, Jerry. 101 Music Games for Children. Alameda, California: Hunter House, Inc., 1995.
Storr, Anthony. Music and Mind. New York: Free Press, 1992.
Walsh, Michael. Who's Afraid of Classical Music? New York: Simon and Schuster, 1989.
About the author
Sound Directions are created by Chris Brewer of LifeSounds to assist you in effective and creative music use! They are available for many recordings. Call 1-888-687-4251 (888-music51) for more information.
Fonte: http://education.jhu.edu/PD/newhorizons/strategies/topics/Arts%20in%20Education/brewer.htm
Fonte: http://education.jhu.edu/PD/newhorizons/strategies/topics/Arts%20in%20Education/brewer.htm
