![]() That understanding would involve further definition of the auditory nuclei in the brainstem, the role and function of the thalamus, the means of transmission to the auditory cortex, the role of memory in the perceptual process, the interaction of expectation with neurotransmitters like dopamine and their role in the perceived response, and so on. The basic question of what are the mechanisms of how people enjoy music illustrates a very important aspect of the challenge of studying mechanisms-the ear is essential in the perception of music but it is only a start to the understanding of the cascade of mechanisms or causes of music enjoyment. There is a particular organization of the components of the ear and how they interact that causes vibration to be perceived as sound. (4) An organizational dimension-components are organized in space and time. The components of the ear turn the air compressions into electrical signals transmitted through the auditory nerve to the internal perceptual processing system (a complex mechanism in itself). (3) A causal dimension-components interact to make the phenomenon happen. In a simplified description the ear has components including the ear drum, the malleus, incus, stapes, and cochlea that transmit the vibration to the cilia which translate the physical vibration to an electrical signal for the auditory nerve. (2) A componential dimension-a mechanism has components. The ear translates compression and decompression of air molecules into the conscious perception of sound. For music the human ear offers a basic mechanism illustration. Craver and Bechtel describe four dimensions of mechanisms: (1) a phenomenal dimension-a mechanism does things. However, another approach is to define the potential level of the response mechanism.įocusing on the mechanism itself can be highly complex. Efforts to provide more detailed reporting of the music used in research are a start. That is, if music is approached as “music”-a cognitively constructed product of a culturally situated acoustic phenomena-the variables that can affect a response are practically limitless. Part of the problem of creating a scientific foundation for music effects in healthcare is that music is a very complex phenomenon to control its parameters scientifically is practically impossible. To develop clinical and scientific legitimacy in general healthcare and expand its use as standard of care, research on the use of music must show both that it works (evidence-based research) and why it works (mechanism-based research). Mechanisms of effect have received little attention until recently. As an emergent practice within the healthcare context, the focus of music therapy (a therapeutic relationship employing music as a means) and music medicine (the music or sound itself as the therapeutic) research has been primarily evidence-based. As a field of practice music therapy has been described as an art and a science and regards to science its research foundation has drawn on psychoanalytic, humanistic, and behavioral traditions. This belief and related cultural practice has been evident throughout history, but the clinical profession of music therapy is only some 75 years old. Music has the power to affect our health and wellbeing. The conclusion points to the complexity of the field of vibrational medicine and calls for specific comparative research on type of vibration delivery, amount of body or surface being stimulated, effect of specific frequencies and intensities to specific mechanisms, and to greater interdisciplinary cooperation and focus. In every category research on clinical applications are described. Basic mechanisms of hemodynamic effects including stimulation of endothelial cells and vibropercussion of neurological effects including protein kinases activation, nerve stimulation with a specific look at vibratory analgesia, and oscillatory coherence of musculoskeletal effects including muscle stretch reflex, bone cell progenitor fate, vibration effects on bone ossification and resorption, and anabolic effects on spine and intervertebral discs. Literature on mechanisms of response to vibration is categorized into hemodynamic, neurological, and musculoskeletal. Types of application are described and include whole body vibration, vibroacoustics, and focal applications of vibration. The focus is on low frequency sound (up to 250 Hz) including infrasound (1–16 Hz). It begins by narrowing music to sound and sound to vibration. This paper presents a narrative review of research literature to “map the landscape” of the mechanisms of the effect of sound vibration on humans including the physiological, neurological, and biochemical.
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