PHYSICAL EFFECTS OF MUSIC

Evening Star, Issue 20029, 21 November 1928, Page 13

PHYSICAL EFFECTS OF MUSIC

SENSORIAL STIMULUS When a musical piece is enjoyed by an auditor he is immeasurably benefited, says Edward Podolsky, writing in 1 Clinical Medicine and Surgery ’ (Chicago) ; and this benefit is exerted as powerfully on his system as that produced by any chemical or physical agency that has been designed for such a definite purpose In the instance of music the effects are always attended with pleasure, which is not always the case with the other agencies. He goes on Biuot and Courtier, investigating the influence of music on the respiration, accomplished their experiments with the pneumograph. The reactions of a single subject were studied. In one senes of experiments isolated tones, chords, and musical exercises, possessing no intellectual or emotional associations, were used. These sensorial stimuli produced no respiratory modification. except an acceleration of from 0.5 to 3.5 additional respirations per minute. The acceleration varied directly with the increase of the movements, and was greater for the minor mode and for discordant sounds. Musical selections, chiefly songs, arousing emotional associations, accord ing to the introspection of the subjects, varied in their influence, according to the memories the tune evoked. Sad melodies accelerated respiration by 2.6 on the average, considerably diminished the amplitude, and produced irregularities in both acceleration and amplitude of respiration. Gay music—i.e., military marches—produced an acceleration of 3.8, and showed less tendency to [ reduce amplitude. A third class of | melodies evoked complex and miclassifiI able emotions, and produced an acceleration of 3.3 per minute, with a tendency to reduced amplitude. The following table is a summary of the results:— Respirations. Music. Before. After.

It was found that with the thumb and finger grip the greatest pressure that could ho exerted during silence was about 91b. When someone played the ‘ Giant’s Motive ’ from ‘ Rhcingold ’ the grip was increased to 101 b. The ‘ Slumber Motive ’ from the ‘ Walkure ’ reduced tho power to 71b. Music also tends to reduce or delay fatigue, and consequently increase muscular endurance.

In 1887 Lombard observed the reinforcement of the knee reflex caused by music while making a general experimental investigation or the variation of the knee ierk in relation to the activity of the central nervous system. The apparatus consisted of a hammer suspended on _ its axis through the handle, and falling like a pendulum, so that the force of the blow could be regulated, and a rod connected with the foot, sliding in the groove of a wheel, and equipped with a needle which recorded the extent of movement on a blackened surface. His observations may bo summarised as follow: Conditions. Average. Silence 32 ram. Music of a passing band ... 65 mm. ‘ Maryland, My Maryland ’ 64.7 mm. Drum Corps 61.8 mm. The amplitude of the knee jerk, therefore, seemed to vary distinctly with the intensity of the auditory stimulus. There was an increase and a decline in the extent of tho knee jerks as the music approached and reeded. In a subsequent experiment to test tho effect of music on the knee jerk mi air was played on a piano in an adjoining room. Tho average kneo jerk at 7 p.m. was 32 mm., at 11 p ; m. 29 mm., so that at 10.30, at the time of the experiment, tho “ normal ” knee fork probably would have been about 30 mm. Stimulus. Average. Beethoven’s ‘ Funeral March ’ 105 ram. Interval of quiet 74 mm. Soft music 53.4 ram. Deeper passage 74.3 mm. Soft 60-4 ™a. More thrilling 83.6 mm. Varied and softer 61.6 mm. Quiet, lomin later 29.0 mm. These definite, clean-cut experiments seem to demonstrate fairly conclusively that music produces measurable effects upon tho body’s functions. The clinical application of these findings should prove interesting, remarks Mr Podolsky, who mentions that the effects of musical stimuli have for some time gained the attention of psychologists.

‘ Marche Triomphale ’ (Tannhauser) 9.6 18.6 ‘ Marche de Fauste' (Gounod) 9.0 13.6 ‘ Marche Hongroise ’ (Berlioz) ‘ L’Epee Chant ’ (Wagner) 11.0 14.5 9.5 14.0 ‘ La Ghauvauchee ’ (Wagner) 9.0 14.0 ‘ Printemps,’ chant (Wagner) 9.5 13.0 ‘ La Recohtro ’ (Faust) 10.5 13.0 * Laisee moi Contempler ton Visage ’ 11.0 12.0