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Identification of Emotion Parameters in Music to Modulate Human Affective States
Published in Wellington Pinheiro dos Santos, Juliana Carneiro Gomes, Valter Augusto de Freitas Barbosa, Swarm Intelligence Trends and Applications, 2023
Maíra A. Santana, Ingrid B. Nunes, Andressa L.Q. Ribeiro, Flávio S. Fonseca, Arianne S. Torcate, Amanda Suarez, Vanessa Marques, Nathália Córdula, Juliana C. Gomes, Giselle M.M. Moreno, Wellington P. Santos
The modulation of the affective state by music is a tool that has been explored in the context of music therapy for various cognitive and behavioral disorders. Music therapy is a therapeutic approach in which musical stimuli are used to achieve non-musical goals (de l’Etoile, 2008). In recent years it has been better studied and explored for various applications. Several studies have sought to understand the effects of musical stimuli in the context of therapy for people with Autistic Spectrum Disorder and learning difficulties (Safonicheva and Ovchinnikova, 2021). In these groups, aspects such as attention, socialization and trust are strongly developed. Other studies have identified a number of benefits of these musical stimuli in elderly people with Parkinson’s Disease, Alzheimer’s Disease and other neurodegenerative disorders (de l’Etoile, 2008). In these groups, music plays an important role in slowing down the progression of the disease. Studies also showed that adequate musical stimuli may have positive effects in reducing depression and anxiety (de l’Etoile, 2008). One of the main musical parameters that allow this modulation of human affective state is the emotions conveyed by the music itself. For example, if music expresses happiness, resonance effects induced by it on brain waves is likely to improve the mood of this individual (Schaefer, 2017). Similar processes may occur for other affective states.
BCI for Music Making
Published in Chang S. Nam, Anton Nijholt, Fabien Lotte, Brain–Computer Interfaces Handbook, 2018
Duncan A.H. Williams, Eduardo R. Miranda
The use of BCI for music has steadily been gaining traction over the past three decades. Yet, before this, early pioneers made use of the EEG to generate control data for musical performance. Alvin Lucier’s 1965 piece Music for Solo Performer (Lucier 1976) distributes amplified alpha waves around a real-world performance space, in which various types of percussion are triggered or stimulated by the amplified waves as the performer mediates their mental state by meditating and increasing the corresponding alpha wave output. The otherworldly effect was well suited to the experimental avant-garde composition movement of the time, such as the work of John Cage and contemporaries, whom Lucier had seen some years prior and would have likely been influenced by. David Rosenboom continued the early exploration with the release of Brainwave Music (1974), adapting the sensor/mapping strategy to incorporate biofeedback in the compositional process (Rosenboom 1990; Teitelbaum 1976). Much of this period of BCMI evolution can be characterized by the realization of the control of alpha in a participant and the subsequent adaptation of this control to music creation. The concept of adaptive biofeedback was explored by Eaton (1971), who combined visual and auditory stimuli in a manner that facilitated much of the later design of BCMI. Historically, BCMI systems would not seek to extrapolate direct meaning from brainwaves but rather force a semantic mapping between the stimulus and the generated musical output. The principal distinction is that the influence of music on brainwaves and other physiological readings might also be harnessed as some form of control signal to facilitate musical interaction. Should the system for musical interaction be designed with this in mind, the subsequent feedback loop could create useful applications in and of itself, for example, in the context of music therapy. Music therapy is a psychological therapy technique that aims to facilitate communication and improve the emotional state of a patient via musical interaction with the therapist (Aigen 2005). A typical session might involve a patient performing on an instrument in solo or in a duet with the therapist. A BCMI system might be useful for such work by facilitating patients who are not musically confident or competent enough to engage in traditional music-making activities as part of the therapeutic process, for example, performing or improvising new music that might otherwise be restricted by age or previous experience (Clair and Memmott 2008; Fagen 1982; Hanser 1985).
Child-Robot Interaction in a Musical Dance Game: An Exploratory Comparison Study between Typically Developing Children and Children with Autism
Published in International Journal of Human–Computer Interaction, 2021
Jaclyn A. Barnes, Chung Hyuk Park, Ayanna Howard, Myounghoon Jeon
Empirical studies show that many autistic children possess musical potential that can and should be developed even though they do not meet savant criteria (Heaton, 2009). Music therapy is a broad category that encompasses a variety of techniques that are frequently mixed and combined including receptive, recreative, compositional, improvisational, and musical activity therapies (Accordino et al., 2007). While this variety can make coming to a general conclusion about the effectiveness of music therapy difficult, meta-analysis of existing studies has shown positive effects of some music therapy (Accordino et al., 2007; Geretsegger et al., 2014).