Abstract
While I am a neuroscientist studying the neural mechanisms of sound and music perception, I also play the cello in an amateur orchestra. During the performances, I am often deeply moved by the sweet sounds of the oboe, the majestic chorales from brass instruments, and the profound bass notes of the contrabass, echoing as if from the depth of the earth. Such musical moments trigger physiological reactions in me, such as an accelerated heart rate or the sudden appearance of goose bumps. I believe that many people around the world might share these sensations. Yet, the underlying mechanisms driving these reactions remain somewhat mysterious.
The authors of this book shed light on this very subject. They highlighted that while numerous studies have explored multifaceted effects of music on our physiology and behavior, our understanding of the influencing factors and their mechanisms is still in its infancy. This is not necessarily due to a lack of research efforts. Instead, the inconsistency in results, even when similar methodologies are employed, poses a significant challenge.
Physiological Influences of Music in Perception and Action, written by Shannon E. Wright, Valentin Bégel, and Caroline Palmer, is a part of the Cambridge Elements Perception series. This book reviews research centered on the physiological changes in the human body induced by music, focusing on studies published since 2010. The structure of the book includes sections discussing the changes in heart rate, respiration, and skin potentials that are often associated with emotional responses (valence and arousal level) during music listening. The book then transitions to the influence of musical performance and therapeutic potential of music, especially its efficacy in reduction of both mental and physical pain. The content is structured methodically, moving from foundational concepts to more advanced topics. For its compactness, this book is well suited for undergraduate and graduate students of all ages interested in an interaction between external stimuli and physiological reactions. However, researchers who specialize in this field may find it lacking a more in-depth exploration.
After the introduction of the book, the second chapter serves as a primer, introducing readers to fundamental physiological markers such as electrodermal activity (EDA), heart rate variability (HRV), pupil dilation, and so on. Then, the authors explore how elemental musical components, especially tempo and loudness, can influence these physiological markers. For instance, a loudly up-tempo tune might induce heightened arousal, leading to an increased heart rate and sweaty palms. Conversely, a tune with a slower tempo might have a calming effect (reducing heart rate and hand sweat). While some studies corroborate these hypotheses, others present contradictory findings. The reasons for the discrepancies are not clearly discussed, but as readers progress, they might notice one potential explanation: complex interactions between physiological markers such as HRV and respiration rate.
The third chapter explores emotional impact of music, examining the interplay between emotional reactions, from joy to sorrow, and physiological markers in depth. Pioneering studies are introduced that measure physiological responses to songs with varying emotional valences. Also, the impact of familiarity with the music is considered, incorporating factors like musical experience and cultural differences. In addition, a psychological model to explain emotional responses to music is discussed, considering brainstem reflex, emotional contagion, episodic memory activation and expectation violation, and the relationship between these changes and physiological indices.
The fourth chapter sheds light on physiological changes during music performance or listening during activities. It covers changes during instrument playing, dancing, or even walking and the effects of music on these activities. However, to be honest, the range of studies introduced is vast, and the results vary, leaving an impression of a lack of cohesion.
The fifth chapter focuses on the therapeutic potential of music, especially its efficacy in pain management. While the initial discussions revolve around music's recuperative effects post-exercise, the topic shifts to the role of music in pain mitigation. The studies introduced consistently underscore music's potential in modulating pain perception and the accompanying physiological changes. In particular, small but positive effects are consistently reported for the effects of music on infant pain perception and mental health.
Throughout the book, it is clear that aside from the last chapter on pain, many similar experiments end up with different results. The authors touch on this, but a deeper dive into the matter would have been beneficial. Still, the variety of studies showcased gives a good overview of the current state in this field. The authors also offer potential reasons for these discrepancies, which is really useful for anyone looking into this kind of research in the future. An intriguing aspect is how our familiarity with the music might play a role: it seems our connection to music is not just about listening; it is also about the memories and emotions they stir up.
Steven Pinker once described that music is an “auditory cheesecake” (Pinker, 1999), indicating that music is merely a by-product of the evolution of other mental faculties and our lifestyles would be the same without it. But after reading this book, it makes you wonder: would our lives truly be the same without those tunes?
