Barra lateral de artículos

Enviado
March 4, 2018
Publicado
December 31, 2017
Descargar
PDF
Estadística
Leer contador : 377 Descargar : 204

Descargas

Los datos de descargas todavía no están disponibles.

Contenido del artículo principal

Resumen

La literatura científica indica que la respuesta psicofisiológica ante la escucha musical varía dependiendo de diferentes variables como, por ejemplo, el tempo de la música, el modo, el estilo musical escuchado y el contenido de la letra. Los objetivos de la presente investigación son, en primer lugar, determinar si las respuestas psicofisiológicas (respuesta galvánica de la piel-RGP, onda cerebral alfa-OCA y frecuencia cardíaca-FC) varían en función de la escucha musical frente a la condición de silencio. En segundo lugar, establecer si dichas respuestas varían en función del contenido de la letra de lo escuchado (Música Cristiana vs. Música no Cristiana). En tercer lugar, analizar si, en la escucha musical las respuestas psicofisiológicas difieren atendiendo al estilo musical escuchado. Participaron 100 estudiantes de la Universidad Adventista de Colombia divididos en dos grupos: Grupo Experimental o de escucha musical (n = 50) y Grupo Control o condición de silencio (n = 50). Los principales resultados pusieron de manifiesto diferencias en función de la modalidad de escucha (musical frente a silencio) en las tres respuestas psicofisiológicas. Además, se hallaron diferencias atendiendo al contenido de la letra y el estilo musical escuchado. Se discute la necesidad de continuar profundizando en futuros estudios que atiendan a diferentes variables que puedan incidir en la respuesta psicofisiológica ante la escucha musical.

Palabras clave

Escucha musical Respuesta Galvánica de la Piel Onda cerebral Alfa Frecuencia Cardíaca letra estilo musical

Detalles del artículo

Cómo citar
Herrera Torres, L., & Berrío Grandas, N. J. (2017). Escucha musical y respuestas psicofisiológicas. PUBLICACIONES, 47, 97–126. Recuperado a partir de https://revistaseug.ugr.es/index.php/publicaciones/article/view/7199
Descargar cita
Endnote/Zotero/Mendeley (RIS)
BibTeX

Referencias

  1. Adolphson, J.V. (2009). Holy rock and rollers: a fantasy theme analysis of American evangelicalism in Christian heavy metal. Illinois, IL: Northern Illinois University.
  2. Ali, S.O., & Peynircioglu, Z.F. (2010). Intensity of emotions conveyed and elicited by familiar and unfamiliar music. Music Perception, 27(3), 177- 182. doi:10.1525/MP.2010.27.3.177
  3. Ballard, M.E., & Coates, S. (1995). The immediate effects of homicidal suicidal and non violent heavy metaland rap songs on themoods of college students. Youth and Society, 27(2), 148-168. doi:10.1177/0044118X95027002003
  4. Baumgartner, T., Esslen, M., & Jancke, L. (2006). From emotion perception to emotion experience: emotions evoked by pictures and classical music. International Journal of Psychophysiology, 60(1), 34-43. doi:10.1016/j. ijpsycho.2005.04.007
  5. Becknell, M.E., Firmin, M.W., Hwang, C., Fleetwood, D.M., Tate, K.L., & Schwab, E.D. (2008). Effects of listening to heavy metal music on college women: a pilot. College Student Journal, 42(1), 24-35.
  6. Bell, K.M., & Meadows, E.A. (2013). Efficacy of a brief relaxation training intervention for pediatric recurrent abdominal pain. Cognitive and Beha- vioral Practice, 20(1), 81-92. doi:10.1016/j.cbpra.2012.03.003
  7. Benson, H., & Klipper, M.Z. (2000). The relaxation response: Updated and expanded. New York, NY: Avon Books Inc.
  8. Blood, A.J., & Zatorre, R.J. (2001). Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion. Proceedings of the National Academy of Sciences of the United States of America, 98(20), 11818-11823. doi:10.1073/pnas.191355898
  9. Brooks, D. (2003). A history of music therapy journal articles published in the English language. Journal of Music Therapy, 40(2), 151-168. doi:10.1093/jmt/40.2.151
  10. Burns, J.L. (1999). The effects of different types of music on perceived and physio- logical measures of stress (Doctoral Thesis, University of South Alabama).
  11. Changizi, M. (2011). Harnessed: How language and music mimicked nature and transformed ape to man. Dallas, TX: Benbella Books Inc.
  12. Cohen, A.J. (2002). Music cognition and the cognitive psychology of film structure. Canadian Psychology, 43(4), 215-232. doi:10.1037/h0086918 Cohen, A.J. (2010). Music as a source of emotion in film. In P.N. Juslin, & J.A. Sloboda (Eds.), Handbook of Music and Emotion: Theory, Research, Applications (pp. 879-908). New York, NY: Oxford University Press.
  13. Coutinho, E., & Cangelosi, A. (2011). Musical emotions: Predicting second- by-second subjective feelings of emotion from low-level psychoacoustic features and physiological measurements. Emotion, 11(4), 921-937. doi:10.1037/a0024700
  14. Dellacherie, D., Ehrlé, N., & Samson, S. (2008). Is the neutral condition relevant to study musical emotion in patients? Music Perception, 25(4), 285-294. doi:10.1525/mp.2008.25.4.285
  15. Ellis, R.J., & Simons, R.F. (2005). The impact of music on subjective and physio- logical indices of emotion while viewing films. Psychomusicology: A Journal of Research in Music Cognition, 19(1), 15-40. doi:10.1037/h0094042
  16. Elliott, D., Polman, R., & McGregor, R. (2011). Relaxing music for anxiety con- trol. Journal of Music Therapy, 48(3), 264-88. doi:10.1093/jmt/48.3.264
  17. Ellis, R.J., & Thayer, J.F. (2010). Music and autonomic nervous sys- tem (dys)function. Music Perception, 27(4), 317-326. doi:10.1525/ mp.2010.27.4.317
  18. Etzel, J.A., Johnsen, E.L., Dickerson, J., Tranel, D., Adolphs, R., & Tranel, D. (2006). Cardiovascular and respiratory responses during musical mood induction. International Journal of Psychophysiology, 61(1), 57-69. doi:10.1016/j.ijpsycho.2005.10.025
  19. Goleman, D. (2012). Inteligencia emocional. Barcelona: Editorial Kairós.
  20. Gomez, P., & Danuser, B. (2004). Affective and physiological responses to environmental noises and music. International Journal of Psychophysio- logy, 53(2), 91-103. doi:10.1016/j.ijpsycho.2004.02.002
  21. Gomez, P., & Danuser, B. (2007). Relationships between musical structure and psychophysiological measures of emotion. Emotion, 7(2), 377-387. doi:10.1037/1528-3542.7.2.377
  22. Grewe, O., Nagel, F., Kopiez, R.,&Altenmüller, E. (2007). Emotions over time: Synchronicity and development of subjective. Physiological and facial affective reactions to music. Emotion, 7(4), 774-788. doi:10.1037/1528- 3542.7.4.774
  23. Groarke, J.M., & Hogan, M.J. (2016). Enhancing wellbeing: An emerging model of the adaptive functions of music listening. Psychology of Music, 44(4), 769-791. doi:10.1177/0305735615591844
  24. Guhn, M., Hamm, A., & Zentner, M. (2007). Physiological and musico-acous- tic correlates of the chill response. Music Perception, 24(5), 473-483. doi:10.1525/mp.2007.24.5.473
  25. Habib, M., & Besson, M. (2009). What do music training and musical experience teach us about brain plasticity? Music Perception: An Inter- disciplinary Journal, 26(3), 279-285. doi:10.1525/mp.2009.26.3.279
  26. Hall, M.R. (2009). Hip-hop education resources. Equity & Excellence in Edu- cation, 42(1), 86-94. doi:10.1080/10665680802584171
  27. Hallam, S., Cross, I., & Thaut, M. (Eds,) (2008). The Oxford Handbook of Music Psychology. Oxford, UK: Oxford University Press.
  28. Herrera, L., Lorenzo, O., Defior, S., Fernández-Smith, G., & Costa-Giomi, E. (2011). Effects of phonological and musical training on the reading rea- diness of native and foreign Spanish-speaking children. Psychology of Music, 39(1), 68-82. doi:10.1177/0305735610361995
  29. Ho, Y., Cheung, M., & Chan, A. (2003). Music training improves verbal but not visual memory: Cross-Sectional and longitudinal explorations in chil- dren. Neuropsychology, 17(3), 439-450. doi:10.1037/0894-4105.17.3.439 Hunter, P.G., & Schellenberg, E.G. (2010). Music and emotion. In M.R. Jones, R.R. Fay y A.N. Popper (Eds.), Music perception (pp. 129-164).New York, NY: Springer.
  30. Hunter, P.G., Schellenberg, E.G., & Schimmack, U. (2010). Feelings and perceptions of happiness and sadness induced by music: Similarities, differences and mixed emotions. Psychology of Aesthetics, Creativity and the Arts, 4(1), 47-56. doi:10.1037/a0016873
  31. Husain, G., Thompson, W., & Schellenberg, E. (2002). Effects of musical tempo and mode on arousal, mood, and spatial Abilities. Music Perception: An Interdisciplinary Journal, 20(2), 151-171. doi:10.1525/mp.2002.20.2.151
  32. Iwanaga, M., Kobayashi, A., & Kawasaki, C. (2005). Heart rate variability with repetitive exposure to music. Biological Psychology, 70(1), 61-66. doi:10.1016/j.biopsycho.2004.11.015
  33. Johnsen, E.L., Tranel, D., Lutgendorf, S., & Adolphs, R. (2009). A neuroana- tomical dissociation for emotion induced by music. International Journal of Psychophysiology, 72(1), 24-33. doi:10.1016/j.ijpsycho.2008.03.011
  34. Juslin, P.N. (2011). Music and Emotion: Seven Questions, Seven Answers. In
  35. I. Deliège, & J. Davidson (Eds.), Music and the mind: Essays in honour of John Sloboda (pp. 113-135). New York, NY: Oxford University Press. Juslin, P.N., & Sloboda, J. (Eds.) (2010). Music and Emotion: Theory and Research. Oxford, UK: Oxford University Press.
  36. Juslin, P.N., & Västfjäll, D. (2008). Emotional responses to music: the need to consider underlying mechanisms. The Behavioral and Brain Sciences, 31(5), 559-621. doi:10.1017/S0140525X08005293
  37. Kaharie, K., Zachau, G., Eklof, M., Sandsjo, M., & Moeller, C. (2003). Assessment of hearing and hearing disorders in rock/jazz musi- cians. International Journal of Audiology, 42(5), 279-288. doi:10.3109/14992020309078347
  38. Khalfa, S., Peretz, I., Blondin, J., & Robert, M. (2002). Event-related skin conductance responses to musical emotions in humans. Neuroscience Letters, 328(2), 145-149. doi:10.1016/S0304-3940(02)00462-7
  39. Klein, B. (2008). In perfect harmony: Popular musicandcolaadvertising. Popu- lar Music and Society, 31(1), 1-20. doi:10.1080/03007760601061290
  40. Klein, M. E., & Zatorre, R. J. (2011). A role for the right superior temporal sulcus in categorical perception of musical chords. Neuropsychologia, 49(5), 878-887. doi:10.1016/j.neuropsychologia.2011.01.008
  41. Knight, W.E.J., & Rickard, N.S. (2001). Relaxing music prevents stress-indu- ced increases in subjective anxiety, systolic blood pressure and heart rate in healthy males and females. Journal of Music Therapy, 38(4), 254-272. doi:10.1093/jmt/38.4.254
  42. Koelsch, S. (2009). A neuroscientific perspective on music therapy. Annals of the New York Academy of Sciences, 1169(1), 374-384. doi:10.1111/ j.1749-6632.2009.04592.x
  43. Koelsch, S. (2011). Toward a neural basis of music perception - a review and updated model. Frontiers in Psychology, 2(110), 1-20. doi:10.3389/ fpsyg.2011.00110
  44. Krone, A.M. (2011). Pop music with a purpose: The organization of con- temporary religious music in the United States (Doctoral Thesis, Duke University).
  45. Kwon, M., Gang, M., & Oh, K. (2013). Effect of the group music therapy on brain wave, behavior, and cognitive function among patients with chronic schizophrenia. Asian Nursing Research, 7(4), 168-174. doi:10.1016/j. anr.2013.09.005
  46. Labbé, E., Booth, K., Jimmerson, M., & Kauamura, N. (2004). The sound of music: evaluating responses to different music genres. Presented at the Annual Meeting of the Southeastern Psychological Association. Atlanta, GA.
  47. Labbé, E., Schmidt, N., Babin, J., & Pharr, M. (2007). Coping with stress: The effectiveness of different types of music. Applied Psychophysiology and Biofeedback, 32(3-4), 163-168. doi:10.1007/s10484-007-9043-9
  48. Lindenbaum, J.D. (2012). The pastoral role of Contemporary Christian Music: the spiritualization of everyday life in a suburban evangelical megachurch. Social & Cultural Geography, 13(1), 69-88. doi:10.1080/1 4649365.2011.635802
  49. McDermott, J., & Hauser, M. (2005). The origins of music: Innateness, uni- queness, and evolution. Music Perception: An Interdisciplinary Journal, 23(1), 29-59. doi:10.1525/mp.2005.23.1.29
  50. Nieminen, S., Istók, E., Brattico, E., Tervaniemi, M., & Huotilainen, M. (2011). The development of aesthetic responses to music and their underlying neural and psychological mechanisms. Cortex, 47, 1138- 1146. doi:10.1016/j.cortex.2011.05.008
  51. Park, D.J. (2014). The death & life of the music industry in the digital age.
  52. New Media & Society, 16(3), 534-535. doi:10.1177/1461444813518888
  53. Patel, A.D., & Iversen, J.R. (2014). The evolutionary neuroscience of musical beat perception: the Action Simulation for Auditory Predic- tion (ASAP) hypothesis. Frontiers in Psychology, 8, 57. doi:10.3389/ fnsys.2014.00057
  54. Peretz, I., & Zatorre, R.J. (2005). Brain organization for music processing. Annual Review of Psychology, 56(1), 89-114. doi:10.1146/annurev. psych.56.091103.070225
  55. Riganello, F., Candelieri, A., Quintieri, M., & Dolce, G. (2010). Heart rate variability, emotions and music. Journal of Psychophysiology, 24(2), 112-119. doi:10.1027/0269-8803/a000021
  56. Risi, P. (2007). Pop goes the worship: The influence of popular music on con- temporary Christian music in the evangelical church (Doctoral Thesis, Florida Atlantic University).
  57. Russell, J.A. (1980). A circumplex model of affect. Journal of Personality and Social Psychology, 39(6), 1161-1178. doi:10.1037/h0077714
  58. Salimpoor, V.N., Benovoy, M., Longo, G., Cooperstock, J.R., & Zatorre, R.J. (2009). The rewarding aspects of music listening are related to degree of emotional arousal. PLoS One, 4(10), e7487. doi:10.1371/journal. pone.0007487
  59. Salimpoor, V.N., Van, d.B., Kovacevic, N., McIntosh, A.R., Dagher, A., & Zatorre, R.J. (2013). Interactions between the nucleus accumbens and auditory cortices predict music reward value. Science, 340(6129), 216- 219. doi:10.1126/science.1231059
  60. Schäfer, T., Sedlmeier, P., Städtler, C., & Huron, D. (2013). The psycho- logical functions of music listening. Frontiers in Psychology, 4, 511. doi:10.3389/fpsyg.2013.00511
  61. Smith, J.C., & Joyce, C.A. (2004). Mozart versus new age music: Relaxa- tion states, stress, and ABC relaxation theory. Journal of Music Therapy, 41(3), 215-24.
  62. Sokhadze, E.M. (2007). Effects of music on the recovery of autonomic and electrocortical activity after stress induced by aversive visual stimuli. Applied Psychophysiology and Biofeedback, 32(1), 31-50. doi:10.1007/ s10484-007-9033-y
  63. Stalinski, S.M., & Schellenberg, E.G. (2012). Music Cognition: A Deve- lopmental Perspective. Topics in Cognitive Science, 4, 485-497. doi:10.1111/j.1756-8765.2012.01217.x
  64. Standley, J. (2012). A discussion of evidence-based music therapy to facilitate feeding skills of premature infants: The power of contingent music. The Arts in Psychotherapy, 39(5), 379-382. doi:10.1016/j.aip.2012.06.009
  65. Tan. X., Charles. J.Y., Dennis, M.S., & Richard, B.F. (2012). The interplay of preference, familiarity and psychophysical properties in defining relaxa- tion music. Journal of Music Therapy, 49(2), 150-179. doi:10.1093/ jmt/49.2.150
  66. Thaut, M., & Wheeler, B. (2010). Music therapy. In P.N. Juslin, & J.A. Sloboda (Eds.), Handbook of Music and Emotion: Theory, Research, Applications (pp. 819-848). New York, NY: Oxford University Press.
  67. Trappe, H. (2012). Role of music in intensive care medicine. International Journal of Critical Illness & Injury Science, 2(1), 27-31. doi:10.4103/2229- 5151.94893
  68. Trochidis, K., & Bigand, E. (2013). Investigation of the effect of mode and tempo on emotional responses to music using EEG power asymmetry. Journal of Psychophysiology, 27(3), 142-147. doi:10.1027/0269-803/ a000099
  69. Vieillard, S., Peretz, I., Gosselin, N., Khalfa, S., Gagnon, L., & Bou- chard, B. (2008). Happy, sad, scary, and peaceful musical excerpts for research on emotions. Cognition and Emotion, 22(4), 720-752. doi:10.1080/02699930701503567
  70. Zatorre, R.J., & Salimpoor, V.N. (2013). From perception to pleasure: Music and its neural substrates. Proceedings of the National Academy of Sciences of the United States of America-PNAS, 110(2), 10430-10437. doi:10.1073/pnas.1301228110