Indian classical music with incremental variation in tempo and octave promotes better anxiety reduction and controlled mind wandering—A randomised controlled EEG study

EXPLORE ◽  
2020 ◽  
Author(s):  
Sushma Sharma ◽  
Arun Sasidharan ◽  
Vrinda Marigowda ◽  
Mohini Vijay ◽  
Sumit Sharma ◽  
...  
Keyword(s):  
Classical Music ◽  
Mind Wandering ◽  
Anxiety Reduction ◽  
Indian Classical Music ◽  
Randomised Controlled

scholarly journals One-week exposure to South Indian Classical music clip having incremental variation in tempo and octave promotes better anxiety reduction among medical students – an EEG based study

2019 ◽  
Author(s):  
Sushma Sharma ◽  
Arun Sasidharan ◽  
Vrinda Marigowda ◽  
Mohini Vijay ◽  
Sumit Sharma ◽  
...  
Keyword(s):  
Medical Students ◽  
Classical Music ◽  
Mind Wandering ◽  
Anxiety Reduction ◽  
Music Intervention ◽  
South Indian ◽  
Indian Classical Music ◽  
Alpha Beta ◽  
Music Clip ◽  
The Impact

1.ABSTRACTSeveral scientific studies using Western classical music and some using Indian classical music have reported benefits of listening to musical pieces of specific ‘genre’ or ’Raga’, in terms of stress reduction and mental well-being. Within the realm of a Raga, presentation of musical pieces varies in terms of low-level musical components (like tempo, octave, timbre, etc.), and yet there is hardly any research on their effect. A commonly preferred musical pattern in Carnatic classical music is to have incremental modulations in tempo and octave (‘Ragam-Tanam-Pallavi’), and we wanted to examine whether this could have better anxiolytic effect than music without such modulations.Accordingly, in the current study, we exposed 21 male undergraduate medical students to a custom recorded South Indian classical music clip for 1 week (8 minutes clip; Raaga ‘Kaapi’; only two instruments – ‘Violin’ and ‘Mridangam’; listened thrice daily for 6 days). One set of the participants (Varying Music; n=11) listened to a version that had the incremental variations, whereas the other set (Stable Music; n=10) listened to a version without such variations. On all 6 days, one of the music listening sessions was conducted in the lab while collecting electroencephalography (EEG; 32 channels) and electrocardiography (ECG; 1 channel) data. Psychological assessment for anxiety (State-Trait Anxiety Inventory - STAI and Beck Anxiety Inventory - BAI) was conducted before (day 1) and after (day 6) the intervention. Physiological parameters studied included power spectrum across the scalp in delta, alpha, beta, theta and gamma bands from EEG and heart rate variability (HRV) from ECG, during the baseline recordings of day 1 and day 6 of intervention.Our results show that participants when exposed to varying music showed significant reduction in anxiety, in contrast to stable music or silence intervention. A global examination of power spectral changes showed a stark contrast between stable and varying music intervention in comparison to silence - former showing greater increase in higher frequencies whereas latter showing prominent decrease especially in lower frequencies, both in bilateral temporo-parieto-occipital regions. A more detailed spectral analysis in frontal region revealed that both music intervention showed greater left-dominant alpha/beta asymmetry (i.e., greater right brain activation) and decrease in overall midline power (i.e., lower default mode network or DMN activity), when compared to silence intervention. Interestingly, stable music resulted in more left asymmetry, whereas, varying music showed more midline power reduction. Both music intervention also didn’t show the reduction in HRV parameters that was associated with silence intervention.We speculate that, the enhancement in ‘mind calming effect’ of Kaapi raaga when presented with incremental variations, could be brought about by a balanced switching between a heightened mind wandering state with ‘attention to self’ during the lower-slower portions and a reduced mind wandering state with ‘attention to music’ during the higher-faster portions of the music. Such a ‘dynamic mind wandering’ exercise would allow training one’s creative thinking as well as sustained attention, during the respective high and low mind wandering states - both helping prevent ruminating thoughts. Therefore, musical properties such as tempo and octave have non-trivial influence on the various neurological and psychological mechanisms underlying stress management. Considering the impact of this finding in selection of music clips for music therapy, further studies with larger sample size is warranted.

Svaraprastāra in North Indian classical music

1961 ◽  
Vol 24 (2) ◽  
pp. 307-325 ◽  
Author(s):  
N. A. Jairazbhoy
Keyword(s):  
Thirteenth Century ◽  
Classical Music ◽  
Musical Scale ◽  
Complete Enumeration ◽  
Group 4 ◽  
Indian Classical Music ◽  
Complete Series ◽  
Logical Order

In the Saṅgītaratnākara, a thirteenth-century musical text by Śārṅgadeva, listed under svaraprastāra (lit. extension of notes) is a complete enumeration of all the possible combinations of the 7 notes of the Indian musical scale. This enumeration begins with the single note (ārcika) and is followed by all the possible combinations of two notes (gāthika), three notes (sāmika), four notes (svarāntara), five notes (auḍuva), six notes (ṣāḍava), and seven notes (pūrṇa). Each of these series of kūṭatānas (series of notes in which the continuity of the sequence is broken) develop in the same logical order based on the precedence of the ascending line over the descending line. In Śārṅgadeva's arrangement the first of the 7 note series is the straight ascending line, sa ri ga ma pa dha ni, which, for easy comprehension will be rendered as l 2 3 4 5 6 7 in this paper; and the last of the 7 note series is the straight descending line, ni dha pa ma ga ri sa, rendered 7 6 5 4 3 2 1 here. The changes in the order of the notes take place from the beginning of the series, at first involving only the first two notes, then the first three notes, then the first four notes, and so on. In fact, the progression for the 7 note series includes the progressions for all the smaller series within it. Thus the 7th note of the 7 note series remains constant until the progressions of one, two, three, four, five, and six notes have been exhausted. Only then is the 7th note replaced by the 6th. The chart on p. 308 is an abbreviation showing the nature of the progression. The 2 and 3 note series involving the first 2 and 3 notes respectively are complete. Beginning from the 4 note series, the chart is abbreviated as follows. The 4 note series is divided into four groups determined by the terminal note, each involves change in the first 3 notes, and each of these groups corresponds to the previous 3 note series, which is in fact the first group of the 4 note series. Of the remaining groups only the first and last sequences are given with an indication as to the number of sequences comprising that group. Similar abbreviations are used in the longer series that follow. Commas have been placed to indicate that the preceding numbers now replace the original ascending sequence (mūlakrama) and that the progressions which follow in that group involve change in only these preceding numbers. For example, if one wishes to determine the complete series from 1 2 4,3 5 6 7 to the end of its particular group 4 2 1 3 5 6 7 the comma after 4 indicates that only the first three numbers change.

scholarly journals Nonlinear Signal Processing Method Detects Emotional Changes Induced by Indian Classical Music

2019 ◽  
Vol 9 (1) ◽  
pp. 6200-6206
Keyword(s):  
Signal Processing ◽  
Classical Music ◽  
Recurrence Quantification Analysis ◽  
Nonlinear Signal Processing ◽  
Recurrence Quantification ◽  
Quantification Analysis ◽  
Indian Classical Music ◽  
Nonlinear Signal ◽  
Sad Music ◽  
The Brain

Music is one of the major activities that alters the emotional experience of a person. Musical processing in the brain is a complex process involving coordination between various areas of the brain. There are less number of studies that focus on analyzing brain responses due to music using modern signal processing techniques. This research aims to apply a nonlinear signal processing technique i.e. the Recurrence Quantification Analysis (RQA) technique to analyze the brain correlates of happy and sad music conditions while listening to happy and sad ragas of North Indian Classical Music (NICM). EEG signals from 20 different subjects are acquired while listening to excerpts of raga elaboration phases of NICM. Along with behavioural ratings, the signals were analyzed using the Recurrence Quantification Analysis technique. The results showed significant differences in the recurrence plot and recurrence parameters extracted from the frontal and frontotemporal regions in the right and left hemispheres of the brain. Therefore, from the results, it can be concluded that RQA parameters can detect emotional changes due to happy and sad music conditions.

Companion to North Indian Classical Music (review)

Asian Music ◽  
2006 ◽  
Vol 37 (1) ◽  
pp. 134-136
Author(s):  
Gordon Ross Thompson
Keyword(s):  
Classical Music ◽  
Indian Classical Music

scholarly journals PETER MAXWELL DAVIES IN THE 1950S: A CONVERSATION WITH THE COMPOSER

Tempo ◽  
2010 ◽  
Vol 64 (254) ◽  
pp. 11-19 ◽  
Author(s):  
Nicholas Jones
Keyword(s):  
Classical Music ◽  
Early Music ◽  
Compositional Technique ◽  
Indian Classical Music ◽  
The 1950S ◽  
Peter Maxwell Davies

The 1950s was a particularly important decade for Peter Maxwell Davies. It was the period when he established the fundamental elements of his compositional technique; the decade in which he composed his first acknowledged works; and a time, coinciding with his emergence as a composer of substance, when he travelled to Darmstadt, Paris and Rome. It was also the period that witnessed the publication of two of his own articles, and the decade in which his interest in early music – particularly plainchant – and Indian classical music began to influence his own compositional thinking and resulting works.

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