How harmony, melody, and rhythm trigger the same reward systems that drive our desires for food and sex.

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“[Scientists] found that emotionally charged writing activated areas of the brain which are known to respond to music. Predominantly on the right side, these regions had previously been shown to give rise to the “shivers down the spine” feeling caused by an emotional response to music. The researchers found that when study participants read one of their favorite passages of poetry, regions of the brain associated with memory were stimulated more strongly than “reading areas.” This suggests that reading a favorite passage is like a recollection. When the team specifically compared poetry to prose, they found evidence that poetry activates brain regions associated with introspection – such as the posterior cingulate cortex and medial temporal lobes.” See links below: 
 
 
 
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6 Comments

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6 responses to “How harmony, melody, and rhythm trigger the same reward systems that drive our desires for food and sex.

  1. “food and sex” right together, cool.

  2. i am enjoying your ability to “cut-to-the-chase” and provide a bite size thought that is provocative and stimulation…..

  3. Music and Emotions

    The most difficult problem in answering the question of how music creates emotions is likely to be the fact that assignments of musical elements and emotions can never be defined clearly. The solution of this problem is the Theory of Musical Equilibration. It says that music can’t convey any emotion at all, but merely volitional processes, the music listener identifies with. Then in the process of identifying the volitional processes are colored with emotions. The same happens when we watch an exciting film and identify with the volitional processes of our favorite figures. Here, too, just the process of identification generates emotions.

    An example: If you perceive a major chord, you normally identify with the will “Yes, I want to…”. If you perceive a minor chord, you identify normally with the will “I don’t want any more…”. If you play the minor chord softly, you connect the will “I don’t want any more…” with a feeling of sadness. If you play the minor chord loudly, you connect the same will with a feeling of rage. You distinguish in the same way as you would distinguish, if someone would say the words “I don’t want anymore…” the first time softly and the second time loudly.
    Because this detour of emotions via volitional processes was not detected, also all music psychological and neurological experiments, to answer the question of the origin of the emotions in the music, failed.

    But how music can convey volitional processes? These volitional processes have something to do with the phenomena which early music theorists called “lead”, “leading tone” or “striving effects”. If we reverse this musical phenomena in imagination into its opposite (not the sound wants to change – but the listener identifies with a will not to change the sound) we have found the contents of will, the music listener identifies with. In practice, everything becomes a bit more complicated, so that even more sophisticated volitional processes can be represented musically.

    Further information is available via the free download of the e-book “Music and Emotion – Research on the Theory of Musical Equilibration:

    http://www.willimekmusic.de/music-and-emotions.pdf

    or on the online journal EUNOMIOS:

    http://www.eunomios.org

    Enjoy reading

    Bernd Willimek

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