Schneck & Berger; Music Effect
Book	Page		Topic
Schneck & Berger; Music Effect	27		Music has power.  It can change attitudes, relax or energize the body, animate the spirit, influence cognitive development, enhance the body's self-healing mechanisms.
Schneck & Berger; Music Effect	27		Anatomical systems and physiological processes that comprise the 'me' of what is inherently human function are reflected within the content and systems of music.		0
Schneck & Berger; Music Effect	27		Although all the arts (poetry, painting, drama, dance, etc.) generally affect us in the same way as music does, the effect of music is stronger, swifter, more compelling and infallible.		0
Schneck & Berger; Music Effect	28		Humans create music; it is a metaphor for human experience, encompassing the entire spectrum of human emotions.		1
Schneck & Berger; Music Effect	28		Music is the abstraction and transformation of human emotional and physical energies into acoustic energies that reflect, parallel, and resume in synchrony with the physiological system.		0
Schneck & Berger; Music Effect	28		Music is the mirror of human physical and emotional energy,   transformed into sound.		0
Schneck & Berger; Music Effect	28		Music exists wherever there is humanity on this planet.		0
Schneck & Berger; Music Effect	29		Why is "Happy Birthday" sung rather than recited?  It is because words alone do not adequately convey the emotional energy behind the thought.		1
Schneck & Berger; Music Effect	29		In evolutionary time, the voice was perhaps the first instrument to express human conditions such as needs, desires, fears, pain, joy, excitement etc.		0
Schneck & Berger; Music Effect	29		Primitive percussive and blowing implements were the original instruments -- hollow bones or plant stalks, sticks and tree limbs, hollow or skin-covered logs, bells, rattles, and rituals.		0
Schneck & Berger; Music Effect	29		Evolution of rhythmic, tone-linked,  purposefully and systematized incantations, expressing human needs and feelings.		0
Schneck & Berger; Music Effect	29		Did musical form of expression predate the formalization of language communication?		0
Schneck & Berger; Music Effect	29		Vocal chanting was abbreviated and contracted into short rhythmic spurts of localized grunts and calls that evolve into speech.		0
Schneck & Berger; Music Effect	30		Music as a noncognitive form of communication.  A person needs to know absolutely nothing about music to instantly respond to and benefit from it.		1
Schneck & Berger; Music Effect	30		Music requires no semantic interpretations of its syntax.  It is immediately understood.		0
Schneck & Berger; Music Effect	30		Music is a human-made event.  It is the single most abstract form of self-expression, speaking the emotional language of the human "me".		0
Schneck & Berger; Music Effect	30		Music makes immediate sense, reaching directly into the emotional brain to convey or echo moves, sensations, and feelings.		0
Schneck & Berger; Music Effect	30		Music is a human being's first language.  Words are inadequate to describe the musical experience.  It can only be experienced.		0
Schneck & Berger; Music Effect	30		Music is the universal language of all humanity.		0
Schneck & Berger; Music Effect	31		Six elements of music -- rhythm, melody, harmony, timbre, dynamics, form.		1
Schneck & Berger; Music Effect	34		Rhythm -- periodicity; tendency of an event to occur at regular intervals.		3
Schneck & Berger; Music Effect	34		Melody -- linking of one pitch to another in a curvilinear relationship.		0
Schneck & Berger; Music Effect	34		Harmony -- simultaneous compounding of pitches one on top of another, sounded at the same time to resonate together.		0
Schneck & Berger; Music Effect	35		Dynamics -- energy inherent in sound, embedded in the amplitude of the sound wave.		1
Schneck & Berger; Music Effect	35		Timbre -- texture to a sound, differentiate between various instrumental and vocal qualities.		0
Schneck & Berger; Music Effect	35		Form -- and overall, operational, systematic, structural configuration.		0
Schneck & Berger; Music Effect	52		Sound power level, db		17
Schneck & Berger; Music Effect	54		Resonance		2
Schneck & Berger; Music Effect	55		Sympathetic vibrations -- physiological sympathetic vibrations to music.		1
Schneck & Berger; Music Effect	57		Human ear is able to discriminate some 400,000 sounds that involve different combinations of pitch, loudness, and timbre.		2
Schneck & Berger; Music Effect	77		Endocrine system starts mainly in the brain, where the pineal gland and the hypothalamus are located, then works its way down through the pituitary gland (hypophysis),thyroid and four parathyroids, two adrenal glands, etc..		20
Schneck & Berger; Music Effect	78		Several of the neurotransmitters, hormones, and antibodies have been shown to be secreted in response to certain types of musical stimulation.		1
Schneck & Berger; Music Effect	79		Corresponding to the gene in the biological realm, there is the meme and the socio-cultural dimension.		1
Schneck & Berger; Music Effect	80		Five basic Gestalt laws of perceptual organization of sensory information.		1
Schneck & Berger; Music Effect	80		Gestalt law of proximity.		0
Schneck & Berger; Music Effect	81		Gestalt law of directionality.		1
Schneck & Berger; Music Effect	81		Gestalt law of similarity.		0
Schneck & Berger; Music Effect	81		Gestalt law of closure.		0
Schneck & Berger; Music Effect	81		Gestalt law of Pragnanz.		0
Schneck & Berger; Music Effect	82		Constraint limitations in processing sensory information.		1
Schneck & Berger; Music Effect	82		Frequencies between 20 Hz and 20 kHz.		0
Schneck & Berger; Music Effect	82		Sound pressure level between 0 and 120 db.		0
Schneck & Berger; Music Effect	82		Harmonic dissonance and consonance.		0
Schneck & Berger; Music Effect	82		Dissonance derives from interference patterns (sonic beats) that originate when two tones close in frequency, but not identical, are sounded together.		0
Schneck & Berger; Music Effect	82		Dissonance, peaking at beat frequencies around 24 Hz (comparable to the "flicker speed" for vision) is unpleasant to the typical listener, consonance being much more agreeable to the auditory system.		0
Schneck & Berger; Music Effect	82		Tempering of the musical scale has evolved as a way of minimizing the unpleasant phenomenon of dissonance.		0
Schneck & Berger; Music Effect	82		The current 12 tone chromatic scale contains the maximum number of equally spaced notes containing the minimum number of this in a frequency ratios between any two of these notes.		0
Schneck & Berger; Music Effect	83		The number of dissonant intervals, expressed as a percentage of the total number of intervals in the scale, is the least possible.		1
Schneck & Berger; Music Effect	83		The actual note-to-note subdivisions of the musical scale are constrained by the resolution capabilities of the human auditory system (Gestalt law of proximity).		0
Schneck & Berger; Music Effect	83		The equal spacing of the notes of the musical scale is designed to make it convenient to transpose and modulate from one key to another.		0
Schneck & Berger; Music Effect	83		All sensory perception is constrained by the ability of the corresponding sensory modality to resolve the adequate stimuli.		0
Schneck & Berger; Music Effect	83		Information transmission and processing rates		0
Schneck & Berger; Music Effect	83		Most neurons fire at maximum rates of about 400 impulses per second.		0
Schneck & Berger; Music Effect	83		A single nerve trunk (e.g. the auditory nerve) contains about 30,000 total sensory nerve fibers.		0
Schneck & Berger; Music Effect	83		At 400 hundred impulses per second a 30 thousand nerve-fiber trunk would produce an information flow into the CNS of about 12 million bits per second.		0
Schneck & Berger; Music Effect	84		Interneurons of the reticular activating system (RAS) are very short; this allows it to function as a sieve, continuously sifting through a wealth of incoming data.		1
Schneck & Berger; Music Effect	84		Only those sensory inputs that the RAS deems to be essential, unusual, perceived-to-be-dangerous, and/or in some sense 'action provoking' are selected as appropriate for further processing and forwarding to the higher levels of the brain.		0
Schneck & Berger; Music Effect	84		Filtered by the RAS, only a few hundred stimuli, at most, actually make it through to cerebral regions above the brainstem.		0
Schneck & Berger; Music Effect	85		Autistic children --    'slow learners',    information comes in faster than they can process it;     state of confusion may result.    In engineering signal theory, these are called dropouts or aliasing errors;    sampling rate too low    for a rapidly-changing incident stimulus.		1
Schneck & Berger; Music Effect	86		Hierarchy of three pathways in series    through which the information passes    on its afferent journey through the CNS.		1
Schneck & Berger; Music Effect	86		Reticular formation --    first level of information processing.		0
Schneck & Berger; Music Effect	86		Primary function of the reticular formation    is to prevent information overload    by acting as a preliminary coarse sieve or filter    that serves to avoid innundating the brain with information.		0
Schneck & Berger; Music Effect	86		Thalamus -- sensory reception center;     evaluates incoming information;   once classified, immediately dispatched to two generic places:    (1) sensory regions of the cerebral cortex,    (2) the limbic system, where it undergoes immediate, subconscious perception to effect instantaneous responses to potential threats.		0
Schneck & Berger; Music Effect	87		Sensory data the thalamus has classified as potential threats passes in series pathways    first through the amygdala    and second through the hippocampus.		1
Schneck & Berger; Music Effect	88		If the amygdala signifies that all is well, information filtered by the RAS,    classified by the thalamus,    and evaluated and prioritized by the limbic system    passes on through the hippocampus    to the cognitive regions of the cerebral cortex.		1
Schneck & Berger; Music Effect	89		Brain attempts to economize on the utilization of space for storage:    (1) it stores ingredients, not products,    (2) it draws upon fractal principles to create complicated geometric shapes and configurations,    (3) it discards any and all information for which it has no perceived need.		1
Schneck & Berger; Music Effect	98		All animal behavior is driven by emotion.  Humans instinctively react first, and think later.		9
Schneck & Berger; Music Effect	98		Survival instinct is pervasive in all living creatures, and is the most fundamental of all human drives.		0
Schneck & Berger; Music Effect	105		Physiological process called 'facilitation', or "memory of sensation".		7
Schneck & Berger; Music Effect	105		Anatomical remodeling capability known as plasticity.		0
Schneck & Berger; Music Effect	105		Conditioned reflex network.		0
Schneck & Berger; Music Effect	105		Habit		0
Schneck & Berger; Music Effect	109		Humans initially respond sub-cognitively,    intuitively,    and spontaneously to sensory stimulation, by means of genetically inscribed,    emotionally driven instincts.		4
Schneck & Berger; Music Effect	109		Instinct to survive in the face of perceived threats is the engine that propels physiological function.		0
Schneck & Berger; Music Effect	109		Thought (based on the cognitive awareness of internal and external events) is a luxury afforded as an "after"-thought, where the events enter consciousness long after (as much as 500 ms) a response to the event has already taken place instinctively.		0
Schneck & Berger; Music Effect	109		Any given event might never enter (via the hippocampus) the conscious arena, but rather remain in the subconscious memory of the amygdala permanently.		0
Schneck & Berger; Music Effect	109		Fear derived from a perceived threat to survival is the underlying emotion driving human behavior.		0
Schneck & Berger; Music Effect	109		The human system can be thrust into a perpetual state of fear, and survival behaviors will be manifest as norms.  Such systems will routinely operate in fight-or-flight mode, characterized by an internal hyperactivity.		0
Schneck & Berger; Music Effect	111		Pathological fear -- once fear takes hold, it can escalate, become automatic, and even spiral out of control in response to similar or related situations. (Diagram)		2
Schneck & Berger; Music Effect	113		Schematic representation of fear spiral. (diagram)		2
Schneck & Berger; Music Effect	117		Physiological entrainment		4
Schneck & Berger; Music Effect	118		Entrainment -- body becomes synchronized with the forcing function, allowing itself to be driven consciously or subconsciously.		1
Schneck & Berger; Music Effect	120		A most natural response of the human body to music is a synchronization of anatomical movements and other physiological/psychological functions with musical rhythms.		2
Schneck & Berger; Music Effect	121		When people listen to music, various aspects of their body rhythms display a dynamic embodiment of the temporal structure inherent in the musical rhythms.		1
Schneck & Berger; Music Effect	121		Studies of the electrical activity of muscle function show that auditory cues (driving functions) can arouse and raise the excitability of spinal motor neurons.  This excitability is mediated by auditory-motor neural circuitry at the reticulospinal level.		0
Schneck & Berger; Music Effect	121		Auditory cues can capture one's attention.  Such attentiveness results in brain waves becoming synchronized with the beat frequency.  This synchronized brain activity seems to establish a "pleasing resonance" that catches the entire range of human emotions.		0
Schneck & Berger; Music Effect	121		Researchers have discovered that synchronous firing of neurons in the brain followed a subject's making a deliberate effort to pay attention to a particular sensory stimulus, while ignoring all other distractions.		0
Schneck & Berger; Music Effect	121		Resonance phenomenon following entrainment could be the brain's way of amplifying the volume of brain signals representing behaviorally relevant stimuli.  Such amplification would boost the intensity of these particular stimuli above the level of surrounding 'noise'.		0
Schneck & Berger; Music Effect	121		Entrainment, leading to brain-wave synchronization, leading to resonance, leading to amplification, might be the brain's way of paying attention to a particular stimulus, over and above surrounding distractions.		0
Schneck & Berger; Music Effect	122		Cerebral neurons excited by specific attributes of attended stimuli can conspicuously synchronize their activity in the gamma (40-90 Hz) range of the EEG, indicating extremely strong brain activity.		1
Schneck & Berger; Music Effect	122		If music is familiar, preferred tempi seem to have a simple harmonic relationship to the individual's normal heart rate (70-100 cycles per minute).		0
Schneck & Berger; Music Effect	131		Performance anxiety or "stage fright".		9
Schneck & Berger; Music Effect	131		Reticular activating system (RAS) can be biased, like controlling the mesh size of a sieve, to selectively determine what information gets passed on to the brain for further processing.		0
Schneck & Berger; Music Effect	131		Many of the effects of the RAS can be attributed to music's effect on how sensory inputs are handled by the reticular activating system and the brain.		0
Schneck & Berger; Music Effect	131		In acting like a sieve, the RAS is biased to allow to pass through it information that is perceived to be threatening and/or which is perceived to be otherwise of some interest to the central nervous system.		0
Schneck & Berger; Music Effect	132		By regulating the sieve size, the RAS can be biased to control its sensitivity to various threshold stimuli.		1
Schneck & Berger; Music Effect	132		Exercises such as meditation, praying, chanting, guided imagery, and music therapy, acting through mechanisms of entrainment, can bias the RAS, shifting its threshold sensitivities one way or the other, to let more or less information pass through to higher centers.		0
Schneck & Berger; Music Effect	132		Different states of one's awareness about the world could result from the hierarchy of levels at which sensory information is filtered out.		0
Schneck & Berger; Music Effect	132		In scientific studies, music that elicits pleasant emotions causes the listener to display increased cerebral alpha-rhythm (8-12 Hz, at about 50 µv on the EEG) that is associated with a relaxed state of physiological tranquility.		0
Schneck & Berger; Music Effect	132		Power spectral analysis of brain wave activity of infants shows increased activity in the delta wave (1-5 Hz, at 20-200 µv) and theta-wave (4-7 Hz) regions when processing music as opposed to verbal inputs. Delta wave activity is associated with deep sleep, theta waves with various states of drowsiness.		0
Schneck & Berger; Music Effect	133		Music has a profound influence on how information tracks through the brain.		1
Schneck & Berger; Music Effect	133		Music is able to alter the information route through the brain, from amygdala-centered neural networks associated with emotional fear responses, to hippocampus-centered networks associated with more rational, cognitive responses.		0
Schneck & Berger; Music Effect	133		Through mechanisms of entrainment that involve biasing of neural networks, music can affect processes of sensory integration.		0
Schneck & Berger; Music Effect	133		Music's effect on sensory integration refers to how the brain organizes and interprets (in accordance with the Gestalt laws) inputs arriving simultaneously from multiple sensory modalities, such as sight, sound, smell, taste, touch, heat, pain (nociceptive), etc..		0
Schneck & Berger; Music Effect	136		Music as therapeutic is distinctly different from music as therapy.		3
Schneck & Berger; Music Effect	136		Therapeutic music is a diversionary therapeutic succour, for temporary physical and psychological reasons.		0
Schneck & Berger; Music Effect	136		Music therapy is aimed at accomplishing long-lasting, specific anatomical and physiological changes; reparation of particular human conditions.		0
Schneck & Berger; Music Effect	137		Cytokines for the immune system -- hormones for the endocrine system -- neurotransmitters for the nervous system.		1
Schneck & Berger; Music Effect	140		Neuroscientists Rodolfo Llinas produced an actual humming (background signal) of constant electrical impulses, which fire rhythmically across synapses in the brain, mostly at about 40 Hz in the gamma range of the EEG.		3
Schneck & Berger; Music Effect	140		Neurons entrain to each other's rhythms via synchronized action potentials as they communicate with one another.		0
Schneck & Berger; Music Effect	140		Neuronal activities appear to be contingent upon coherent rhythmicity and resonance.		0
Schneck & Berger; Music Effect	140		Oscillation in the gamma range of 40 Hz of neuronal rhythms in the brain, when amplified in the laboratory, actually admitted hum-drone audible sounds.		0
Schneck & Berger; Music Effect	154		Although the exact mechanisms by which the body entrains various rhythms, rhythmic patterns play an important role in maintaining the brain's attention to acoustic information.		14
Schneck & Berger; Music Effect	161		Speech inflection is a form of emotional vocal communication.		7
Schneck & Berger; Music Effect	161		In spoken language, vocal intensities change, attitudes permeate within inflection, pitches rise and fall, and one intuitively seems to comprehend meanings, regardless of whether or not words are recognized ("reading between the lines", so to speak)		0
Schneck & Berger; Music Effect	161		Changes in tonality, volume, and phrasing constitute prosodic features that are often produced without conscious intention.		0
Schneck & Berger; Music Effect	161		Prosody and inflection might be instinctive and culturally dependent.		0
Schneck & Berger; Music Effect	161		In an evolutionary sense, human calls developed as symbolic communicators of emotion and feelings.		0
Schneck & Berger; Music Effect	162		Extended vocal incantations as pre-language -- humans first language.		1
Schneck & Berger; Music Effect	162		Vocalizations became extended and amplified through various instruments, such as hollow reed flutes, animal horns, and other vibration-producing wind and percussion instruments.		0
Schneck & Berger; Music Effect	162		Cerebral information processing, including the Gestalt laws.		0
Schneck & Berger; Music Effect	162		Two of the basic human calls -- laughter and sobbing.		0
Schneck & Berger; Music Effect	163		Human calls include: screaming with fright; groaning in disapproval; sighing as an expression of sadness, weariness, fatigue, or relief; crying with pain, fear, and/or remorse.		1
Schneck & Berger; Music Effect	163		Severe damage to the amygdala impairs a victim's ability to react emotionally.		0