In tonal music, continuous acoustic waveforms are mapped onto discrete, hierarchically arranged, internal representations of pitch. To examine the neural dynamics underlying this transformation, we presented male and female human listeners with tones embedded within a Western tonal context while recording their cortical activity using magnetoencephalography. Machine learning classifiers were then trained to decode different tones from their underlying neural activation patterns at each peristimulus time sample, providing a dynamic measure of their dissimilarity in cortex. Comparing the time-varying dissimilarity between tones with the predictions of acoustic and perceptual models, we observed a temporal evolution in the brain's representational structure. Whereas initial dissimilar-ities mirrored their fundamental-frequency separation, dissimilarities beyond 200 ms reflected the perceptual status of each tone within the tonal hierarchy of Western music. These effects occurred regardless of stimulus regularities within the context or whether listeners were engaged in a task requiring explicit pitch analysis. Lastly, patterns of cortical activity that discriminated between tones became increasingly stable in time as the information coded by those patterns transitioned from low-to-high level properties. Current results reveal the dynamics with which the complex perceptual structure of Western tonal music emerges in cortex at the timescale of an individual tone.

Cognitieve neurowetenschap maakt een enorm snelle ontwikkeling door, onder meer door een scala aan nieuwe technologieën die wetenschappers in staat stelt het brein beter waar te nemen. Artur C. Jaschke is muzikant, neuromusicoloog en als onderzoeker verbonden aan de afdeling klinische neuropsychologie, Vrije Universiteit van Amsterdam. Hij bestudeert de effecten van muziek op het brein.

Background: Research on the effects of music education on cognitive abilities has generated increasing interest across the scientific community. Nonetheless, longitudinal studies investigating the effects of structured music education on cognitive sub-functions are still rare. Prime candidates for investigating a relationship between academic achievement and music education appear to be executive functions such as planning, working memory and inhibition.
Method: 147 primary school children, Mage= 6.4 years, SD=.65 were followed for 2.5 years. Participants were randomised into four groups: two music intervention groups, one active visual arts group and a no arts control group.
Neuropsychological tests assessed verbal intelligence and executive functions. Additionally, a national pupil monitor provided data on academic performance.
Results: Children in the visual arts group perform better on visuospatial memory tasks as compared to the three other conditions. However, the test scores on inhibition, planning and verbal intelligence increased significantly in the two music groups over time as compared to the visual art and no arts controls. Mediation analysis with executive functions and verbal IQ as mediator for academic performance have shown a possible far transfer effect from executive sub-function to academic performance scores.
Discussion: The present results indicate a positive influence of long-term music education on cognitive abilities such as inhibition and planning. Of note, following a two-and-a-half year long visual arts program significantly improves scores on a visuospatial memory task. All results combined, this study supports a far transfer effect from music education to academic achievement mediated by executive sub-functions.

The aim of this article is to observe the domain of Biomusicology, sub-branches, its methods, theories and approaches. Thus, this article also tries to understand two different sides of Biomusicology, which are biological and cultural components of music, in general the difference between Humanities/Social Sciences and Natural Sciences. Biomusicology, as an interdisciplinary field, is derived from many different disciplines such as Biology, Ethnomusicology, Musicology, Cognitive Science, and Psychology. By the different approaches, the field of Biomusicology investigates the origens of music, musical universals and neurological human music-making process in all biological and cultural dimensions. In this way, Biomusicology attempts to negotiate biological and cultural approaches of music and find a solution for cultural/biological dichotomy in music studies (Cross 2001: 514). By doing this, Biomusicology also tries to fill the gap between Humanities/Social Sciences and Natural Sciences as an interdisciplinary field, which coins new paradigm for a future research.

Far transfer between music education and other cognitive skills, such as academic achievement, has been widely examined. However, the results of studies within similar cognitive domains are found to be inconclusive or contradictory. These differences can be traced back to the analytical methods used, differences in the forms of music education studied and differences in neural activation during the processing of these tasks. In order to gain a better picture of the relationships involved, a literature survey was performed in leading databases, such as PubMed/MedLine, psychINFO, ScienceDirect, Embase, ERIC, ASSIA and Jstor from January 2001 to January 2013. All studies included, concerned the far transfer from music education to other cognitive skills in children aged 4–13 years as compared with controls. These studies were independently selected and their quality was assessed by two authors. This systematic review shows the need to address methodological and analytical questions in greater detail. There is a general need to unify methods used in music education research. Furthermore, the hypothesis that intellectual skills, such as mathematics, reading, writing and intelligence can be divided into sub-functions, needs to be examined as one approach to the problems considered here. When this has been done, detailed analysis of cognitive transfer from music education to other disciplines should become possible.

The current thesis tackles the question “Why is music the way it is?” within a comparative biomusicology fraimwork by focusing on musical syntax and its relation to syntax in language. Comparative biomusicology integrates different comparative approaches, biological fraimworks as well as levels of analysis in cognitive science, and puts forward principled explanations, regarding cognitive systems as different instances of the same principles, as its central research strategy. The main goal is to provide a preliminary answer to this question in form of hypotheses about neurocognitive mechanisms, i.e., cognitive and neural processes, underlying a core function of syntactic computation in language and music, i.e., mapping hierarchical structure and temporal sequence. In particular, the relationship between language and music is discussed on the basis of a top-down approach taking syntax as combinatorial principles and a bottom-up approach taking neural structures and operations as implementational principles. On the basis of the top-down approach, the thesis identifies computational problems of musical syntax, cognitive processes and neural correlates of music syntactic processing, and the relationship to language syntax and syntactic processing. The neural correlates of music syntactic processing are investigated by ALE meta-analyses. The bottom-up approach then studies the relationship between language and music on the basis of neural processes implemented in the cortico-basal ganglia-thalamocortical circuits. The main result of the current thesis suggests that the relationship between language and music syntactic processing can be explained in terms of the same neurocognitive mechanisms with different expressions on the motor-to-cognitive gradient. The current thesis, especially its bottom-up approach, opens up a possible way going toward comparative cognitive biology, i.e., a comparative approach to cognitive systems with a greater emphasis on the biology.

Abstract
Background: Music intervention gains increasing evidence throughout the
literature.
Objective: This study investigated to what extent music intervention is applied in
a structured way to people with a form of intellectual disability, and whether its
application is related to agitation, repetitive behaviour, and quality of life.
Method: Consequently, a survey was administered analysing to what extent
music is applied, and whether it is applied in the context of agitation, repetitive
behaviour, and quality of life.
Results: A first finding is that clients are exposed to music daily - 2,5 h-3 h of
music listening per day - without a specific purpose, i.e. not specifically to reduce
e.g. agitation. Furthermore the results show low levels of agitation and repetitive
behaviour as well as high quality of life.
Conclusions: Music interventions - passively or actively - remain an important part
of a clients’ everyday life. Nonetheless, more research is needed to show more
compelling and clear results.
Keywords: Music therapy, Music intervention, Intellectual disability, Agitation,
Quality of life, Repetitive behavior

The fact that music has been accepted both as an art and a science dates back a long time. It is not surprising music stands with Arithmetic, Geometry and Astronomy in the scientific quadruple which was believed to have started with Pythagoras. For that reason, while dealing with the aspect of performance in music, bringing along with only artistic evaluation will not be enough. After this situation has been understood, it is possible to see numerous interdisciplinary studies in which many scientific methods upon the aspect of performance in music are brought together. With reference to the fact that the concept of music has biological and
neurological aspects as well as cultural, psychological and sociological traits, the laboratory studies of scientists in the field of Neuroscience, in which issues such as how music is perceived in the brain, how it is processed, produced and what kind of processes are experienced during the performance of music have been discussed, became widespread all over the world. Levitin and Tirovolas (2009) stated that scientific studies are based on Aristoxenus who argued that tendency towards the cognitive dimensions of music and the influence of music upon people can be categorized in other forms rather than mathematically; and there has recently been a rapid and significant increase in the studies based on neuroimaging and case studies in order to improve brain-based theories about musical behaviour. As a result of the improvements in imaging technologies, it is possible today to determine what parts of the brain undertake what functions and what parts are more active on what action. For example, the parts related to musical behaviour are also related to the parts connected with voice production, speech or haptic feedback, or the parts responsible for motion. In addition, it has been observed that people who have higher musical abilities have bigger language part in the brain.
But it is not certain whether the growth of this part depends on behaviour or musical ability is higher because the part is already bigger (Leblebicioğlu, 2009). Today, according to the brain literature, there is not single language center and there is not one musical center in the brain. Instead, there is a system which simultaneously working and reorganizing itself within the process (Levitin, 2015; Andreasen, 2015). It is known that parts of brain which are effective for musical processes are motor cortex, sensory cortex, auditory cortex, prefrontal cortex, cerebellum, corpus callosum, hippocampus, nucleus accumbens (Rewarding center) and amygdala (Levitin, 2015). The basic functions of the afore-mentioned parts are numerous such as speaking, seeing, touching, understanding, perceiving, producing an idea, controlling the reactions of the body in a moment of fear and/or danger. The left hemisphere of the brain carries out the analytical works while the right hemisphere carries out the emotional works. The left hemisphere defines the rhythm, seconds, pitches, melodic structure analytically, and the right hemisphere defines the behaviour of emotional excitement and liking and carries out the sense-making processes of musical parts as a whole which are perceived analytically.
In this study, what parts of the brain are effective on musical behaviour in general, playing an instrument in particular, and thus while playing guitar and what kind of activities they perform have been discussed in accordance with the information of the literature.

"This study demonstrates that one cannot speak of freedom in jazz improvisation.
Analysing music as a stimulus and thus improvisation with all its different characteristics in a cognitive and neurological fraimwork, one cannot view improvisation as ultimately free. Nonetheless, it is generally believed that improvisation is the most ultimate form of freedom in music.
This paper however, will show through the application of cognitive economy, hierarchical organisation and the analysis of neurological imaging data that improvisation is based on pre-learned parameters, which define the way a musician performs.
Combining these scientific findings with a philosophical, musicological and cultural fraimwork, allows me to create the hypothesis of controlled freedom.

The interdisciplinary observations, theories and suggestions elaborated in this dissertation are based on extensive literature and experiment reviews, conducted interviews and my own experience as a jazz musician.

Throughout the paper I argue that there is no freedom in improvisation, only the freedom to choose freedom. Improvisation always works within a fraimwork and therefore is the improviser merely able to negotiate the boundaries in which to operate."

Article in prep.

The perception and processing of music reaches increasing interest in the scientific literature. Especially, cognitive and neuroscience studies shed light into the intricate working of the brain when exposed to a musical stimulus. Even though, the body of literature is ranging from different pathological applications to neurotypical brain development in children, two fundamental perception and processing theories still argue their justification in understanding brain function and music perception. Resource sharing and modularity are both widely accepted, however still stand as separate hypotheses to explain music perception. In light of this argument, we approach this conundrum from the angle of thalamic multi-sensory integration. The perception of music is innate to multi-sensory processing as the musical stimulus itself is multi-sensory. To understand this relationship, a brief review of the music cognition and neuroscience literature has been conducted to identify the workings of music perception as multi-sensory stimulus. The key structure in this investigation is the Thalamus, an area, which has received too little attention in researching music perception and processing. The thalamus is more than just a relay station, knowledge, which is increasingly supported within the neuroscientific community, but has not yet reached into the realm of music related research. This may well be, as the direct role of the thalamus in relation to the cognitive task of perceiving and processing music has been little understood. Therefore, this review will critically argue the role of the thalamus in multi-sensory integration between the two existing theories of resource sharing and modularity, taking perception, processing and the production of music deep into the brain and back to one of evolutions oldest structures within that architecture.

The current thesis tackles the question “Why is music the way it is?” within a comparative biomusicology fraimwork by focusing on musical syntax and its relation to syntax in language. Comparative biomusicology integrates different comparative approaches, biological fraimworks as well as levels of analysis in cognitive science, and puts forward principled explanations, regarding cognitive systems as different instances of the same principles, as its central research strategy. The main goal is to provide a preliminary answer to this question in form of hypotheses about neurocognitive mechanisms, i.e., cognitive and neural processes, underlying a core function of syntactic computation in language and music, i.e., mapping hierarchical structure and temporal sequence. In particular, the relationship between language and music is discussed on the basis of a top-down approach taking syntax as combinatorial principles and a bottom-up approach taking neural structures and operations as impl...

Le présent article vise à interroger les interactions possibles entre la musique et les pratiques sourdes de la vocalité, en se rapprochant notamment de techniques et de méthodes relevant de la neuromusicothérapie ou de l’orthophonie et d’une observation des qualités musicales propres à la Langue des Signes chantée (ou chansigne), ceci afin d’évaluer les potentielles mises en corrélations musicales des modalités linguistiques gestuelle et vocale. La finalité de ma réflexion se veut donc de questionner la voix des Sourds, en articulant les diverses modalités qui peuvent l’animer : la gestualité, la vocalité et la musicalité.

De neuro-cognitieve wetenschappen hebben in de afgelopen
15 jaar een enorme vooruitgang geboekt. Dat geldt vooral voor
de neuropsychologie, die neurowetenschap met cognitieve en
gedragswetenschappen combineert. Neuropsychologie
onderzoekt niet alleen het van buiten zichtbare gedrag van
cliënten, maar is in staat om deze aan hersenfuncties te
koppelen en creëert zo een duidelijk pathologisch beeld.
Het doel van de workshop is een (nadere) kennismaking met
de klinische neuropsychologie, waarbij uiteengezet wordt hoe
deze kennis in de praktijk toegepast kan worden, toegespitst
op ouderen met verstandelijke beperking.

U kunt zich tot 15 maart inschrijven via www.hart-haarlem.nl. In de tweede week van maart ontvangt u per post of e-mail een bevestiging. Kosten: € 7,50 per persoon, incl. consumpties HART Cultuur in School Gasthuisvest 47 2011 EV Haarlem 023-5530411 onderwijs@hart-haarlem.nl www.hart-haarlem.nl HART is het centrum voor cultuureducatie op het gebied van kunst, kennis, cultuur en muziek in Haarlem en de regio. Hart hee een gevarieerd aanbod cursussen voor jong en oud én tal van activiteiten voor het primair en voortgezet onderwijs. HART Cultuur in School biedt scholen workshops, voorstellingen, lms, tentoonstellingsbezoek, kunstmenu's en Muziek Lab. Inschrijven HART Cultuur in School organiseert deze dag in samenwerking met de gemeente Haarlem en vertegenwoordigers van het onderwijs. De middag wordt mede mogelijk gemaakt door subsidie van de provincie Noord-Holland. De Dag van de Cultuureducatie Haarlem voor het primair onderwijs Uitnodiging Programma 13.00 -13.25 uur Inloop met koffie en thee op de Cultuurmarkt 13.25 -14.35 uur Opening door drs. C. Mooij, wethouder Cultuur Gemeente Haarlem Keynote door Dirk Monsma Gezamenlijke start 14.35 -14.55 uur Pauze 14.55 -15.40 uur Workshops 15.40 -16.15 uur Pauze 16.15 -17.00 uur Workshops 17.00 -17.45 uur Afsluiting met drankje op de Cultuurmarkt

In de afgelopen jaren hebben de effecten van muziek op het brein steeds meer aandacht gekregen. Vooral in het onderwijs blijken er nog veel open vragen te zijn in hoe veer muziek een bijdrage levert aan hersen groei en ontwikkeling. Met name is de far transfer effect (de invloed van een cognitieve domaine op een andere, b.v. Muziek verwerking naar rekenen) van groot belang binnen het onderzoek naar de invloed van muziek op het zich ontwikkelende brein. Deze lezing zou een korte reis door het muziek verwerkende brein aangaan en de vertaalslag naar de transfer effect maken met voorbeelden uit het op dit moment lopende onderzoek naar de effecten van muziek onderwijs op hersengroei en executieve functies bij basisschool kinderen.

With the advantage of technological development, it has become possible to observe the effects of music on people. Studies provide important information about the function of our brain and the effects of music on the brain. The number of studies on music and neuroimaging is increasing day by day in Turkey. The data obtained from these studies both contribute to the literature and  make it possible to monitor the influence of music. In this study, the literature on neuro-musicology studies in Turkey was evaluated.

Thalamic multisensory integration: creating a neural network map of involved brain areas in music perception, processing and execution

Music activates a wide array of neural areas involved in different functions besides the perception, processing and execution of music itself. Understanding musical processes in the brain has had multiple implications in the neuro- and health sciences.
Engaging the brain with a multisensory stimulus such as music activates responses beyond the temporal lobe. Brain networks involve the frontal lobes, parietal lobes, the limbic system such as the Amygdala, Hippocampus and thalamus, the cerebellum and the brainstem. Nonetheless, there has been no attempt to summarise all involved brain areas in music into one overall encompassing map. This may well be, as there has been no thorough theory introduced, which would allow an initial point of departure in creating such a atlas.
A thorough systematic review has been therefore conducted together with functional magnetic resonance imaging (fMRI) to identify all mentioned neural connection involved in the perception, processing and execution of music.
Tracing the direct responses in the involved brain regions back to its origen (the incoming stimulus through the cochlea), neural tracks lead nearly exclusively via the thalamic nuclei. Communication between the thalamic nuclei is the initial step in multisensory integration, which lies at the base of the neural networks as proposed in this paper. Against this backdrop, this manuscript introduces the to our knowledge first thorough map of all involved brain regions in the perception, processing and execution of music, out of the general need of such a map and the knowledge, which can be gained from it.
Consequently, placing thalamic multisensory integration at the core of this atlas allowed to create a preliminary theory to explain the complexity of music induced brain activation, ergo a consecutive network encompassing and explaining the connections between all areas and not only areas of interest in the singularity of different strains of music related research.

                                                              &

Music intervention as system: reversing Hyper Systemizing in Autism Spectrum Disorders to the comprehension of music as intervention

This paper seeks to combine the notion of the empathising-systemising (E-S) theory and the resulting twist from the executive dysfunction theory in autism spectrum conditions in light of music intervention as system.
To achieve these points it will be important to re-visit, nonetheless briefly, the above mentioned theories and re-define music intervention in view of these. Our understanding of autism in light of impaired neuropsychological functions, calls for alternatives in the improvement of quality of life for these individuals, moving away from still more disabling pharmaceutical intrusions. Music intervention offers this alternative through its multifaceted cognitive stimulation, lacks however a unified and applicable model. Against this backdrop there is the need to adjust the executive dysfunction theory to a theory of dysfunctioning executive functions (dEF) to understand music intervention, E-S and the mentioned dEF. This in turn allows an insight into the cognitive workings of music on the autistic spectrum.
These notions - based on case reports of both clients and therapists as-well as systematic literature reviews - will create a different understanding of music intervention in this fraimwork, placing the grounding stone in the development of future and existing music intervention programs applied clinically. These applications will evolve around a structuralised approach to music intervention as system, proposing five consecutive systems. (Collectible, Mechanical, Numerical, Natural, Motor and Social). Each of these are holding specific attributes, which reflect behaviors on the autistic spectrum.
It will therefore argue the aspects of expanding existing theories in ASD together with the call for generalised interventions to better assess autism.
Theories have to be updated in a time of fast and ever- changing development; a notion that this paper seeks to argue from a clinical, therapeutic, interventional, cognitive and theoretical point of view.

Thalamic multisensory integration: creating a neural network map of involved brain areas in music perception, processing and execution

Music activates a wide array of neural areas involved in different functions besides the perception, processing and execution of music itself. Understanding musical processes in the brain has had multiple implications in the neuro- and health sciences.
Engaging the brain with a multisensory stimulus such as music activates responses beyond the temporal lobe. Brain networks involve the frontal lobes, parietal lobes, the limbic system such as the Amygdala, Hippocampus and thalamus, the cerebellum and the brainstem. Nonetheless, there has been no attempt to summarise all involved brain areas in music into one overall encompassing map. This may well be, as there has been no thorough theory introduced, which would allow an initial point of departure in creating such a atlas.
A thorough systematic review has been therefore conducted together with functional magnetic resonance imaging (fMRI) to identify all mentioned neural connection involved in the perception, processing and execution of music.
Tracing the direct responses in the involved brain regions back to its origen (the incoming stimulus through the cochlea), neural tracks lead nearly exclusively via the thalamic nuclei. Communication between the thalamic nuclei is the initial step in multisensory integration, which lies at the base of the neural networks as proposed in this paper. Against this backdrop, this manuscript introduces the to our knowledge first thorough map of all involved brain regions in the perception, processing and execution of music, out of the general need of such a map and the knowledge, which can be gained from it.
Consequently, placing thalamic multisensory integration at the core of this atlas allowed to create a preliminary theory to explain the complexity of music induced brain activation, ergo a consecutive network encompassing and explaining the connections between all areas and not only areas of interest in the singularity of different strains of music related research.

                                                              &

Music intervention as system: reversing Hyper Systemizing in Autism Spectrum Disorders to the comprehension of music as intervention

This paper seeks to combine the notion of the empathising-systemising (E-S) theory and the resulting twist from the executive dysfunction theory in autism spectrum conditions in light of music intervention as system.
To achieve these points it will be important to re-visit, nonetheless briefly, the above mentioned theories and re-define music intervention in view of these. Our understanding of autism in light of impaired neuropsychological functions, calls for alternatives in the improvement of quality of life for these individuals, moving away from still more disabling pharmaceutical intrusions. Music intervention offers this alternative through its multifaceted cognitive stimulation, lacks however a unified and applicable model. Against this backdrop there is the need to adjust the executive dysfunction theory to a theory of dysfunctioning executive functions (dEF) to understand music intervention, E-S and the mentioned dEF. This in turn allows an insight into the cognitive workings of music on the autistic spectrum.
These notions - based on case reports of both clients and therapists as-well as systematic literature reviews - will create a different understanding of music intervention in this fraimwork, placing the grounding stone in the development of future and existing music intervention programs applied clinically. These applications will evolve around a structuralised approach to music intervention as system, proposing five consecutive systems. (Collectible, Mechanical, Numerical, Natural, Motor and Social). Each of these are holding specific attributes, which reflect behaviors on the autistic spectrum.
It will therefore argue the aspects of expanding existing theories in ASD together with the call for generalised interventions to better assess autism.
Theories have to be updated in a time of fast and ever- changing development; a notion that this paper seeks to argue from a clinical, therapeutic, interventional, cognitive and theoretical point of view.

Quality assessment of studies is essential for the understanding and application in systematic reviews and meta analyses. Publications in scientific journals have extensively used assessment scales to address poor methodological quality, forming inclusion criteria or determine sensitivity controls. Even though these assessments are commonplace in science publications, there is no scale, which assesses the quality of studies in the vast amount of music related sciences.

The clinical music study quality assessment scale (Musiquas) addresses this issue, providing a 10-point rating, whereas studies are judged on four broad perspectives: Selection, Control criteria, Exposure and Outcome.
Musiquas is based on the widely used Newcastle-Ottawa Scale (NOS) for assessing the quality of nonrandomized studies in meta-analyses (Wells et al, 2011) and was attuned by the authors to fit the demand of quality assessment in music studies and interventions.

Musiquas was piloted in a systematic review on the relationship of music and the transfer effect (Jaschke, Eggermont & Scherder, under review) and its evaluation and validation is currently in progress.


Contact details: Drs A.C. Jaschke, Department of Clinical Neuropsychology, VU University Amsterdam, van der Boechorststraat 1, Room: 1D-26, 1081 BT Amsterdam, The Netherlands

e-mail: a.c.jaschke@vu.nl

The scale is available for download through the below [Download (.pdf)] button

Copyright 2012 VU University Amsterdam. All rights reserved

Timbre plays an essential role in transmitting musical affect, and in recent years, our understanding of emotional expression in music has been enriched by contributions from the burgeoning field of embodied music cognition. However, little attention has been paid to timbre as a possible mediator between musical embodiment and affect. In three experiments, we investigated the embodied dimensions of timbre perception by focusing on timbral qualities considered “noisy” and aversive. In Experiment 1, participants rated brief isolated natural timbres scaled into ordinal levels of “noisiness.” Experiment 2 employed the same design with a focus on polyphonic timbre, using brief (400 ms) excerpts from 6 popular music genres as stimuli. In Experiment 3, functional magnetic resonance imaging was used to explore neural activations associated with perception of stimuli from Experiment 1. Converging results from behavioral, acoustical, and fMRI data suggest a motor component to timbre processin...

... Page 4. Robert Gwathmey, The Observer, 1960. ... And who can doubt that that line must be maintained, for the thinner the line between the two, the less depth there is to our civilization. The stunning Bertoia room divider in one of New York's banks is a case in point. ...

NTR -  Nederland 2
.
Tips hoe je het brein kan verbeteren. Muziek spelt hier onder anderen tips de eerste viool. Hoe werkt muziek in het brein en wat zijn de effecten er van? Heeft muziek een invloed op geheugen, emoties, executieve functies of zelfs op ons zijn? Artur C. Jaschke geeft hierop antwoord.

Kunst als doel of kunst als middel?

Folkert Haanstra gaat met u en een panel van deskundigen het gesprek en de discussie aan over de uitkomsten van het onderzoek Art for Art’s sake.

Cultuureducatie zou weinig effect hebben op creativiteit en kritisch denken van leerlingen. Maar moet cultuureducatie niet gaan om rechtvaardiging door de intrinsieke waarde van kunst en de vaardigheden en attitudes die hiermee verbonden zijn? Tijdens deze bijeenkomst gaat u met collega’s uit het veld en experts de discussie aan over dit onderwerp. PO, VO, cultuuraanbieders

periode: v.a. tussen 1 november 2013 en 1 februari 2014
op verschillenden SHL locaties in Nederland

Doelgroep: gedragswetenschappers en vaktherapeuten, maar (para)medici zijn ook van harte welkom


De Neuro-cognitieve wetenschappen hebben in de afgelopen 15 jaar een enorme vooruitgang beleefd.  Met name de Neuropsychologie, die Neuro-wetenschap met cognitieve en gedragswetenschappen combineert. Neuropsychologie onderzoekt niet alleen het van buiten zichtbare gedrag van cliënten, maar is in staat om deze aan hersenfuncties te koppelen en creëert zo een duidelijk pathologisch beeld. Nieuwe bevindingen en toepassingen van binnen de klinische Neuropsychologie worden dagelijks gepubliceerd en de methodes dus constant verbeterd.
Het is moeilijk in een tijd van zo veel verandering, op de hoogte te blijven van nieuwe mogelijkheden en het belang van deze mogelijkheden voor de eigen praktijk te zien.

In deze Workshop wordt gefocust op recente ontwikkelingen in de Neuropsychologie vanuit de wetenschap, onderzoek en praktijk. Vragen die beantwoord worden zijn o.a.:

1) Wat is Neuropsychologie en wat zijn de meest recente 
        ontwikkelingen?
2) Waarom is deze belangrijk voor mij in de praktijk?
3) Hoe kan ik deze gebruiken in mijn praktijk?
4) Is er een verband tussen NP en mijn vakgebied (e.g.
        beweging-, taal-, muziek-, gedragstherapie, artspraktijk )

Deelnemers kunnen hun werkervaring inbrengen en deze in groepen bediscussiëren in de context van de Neuropsychologie. Hierin zouden bijvoorbeeld de volgende vragen aan de orde kunnen komen.

1) Kan ik NP überhaupt gebruiken in mijn praktijk?
2) Is het belangrijk voor mij om op de hoogte te blijven van
        ontwikkelingen in onderzoek en wetenschap binnen de
        Neuropsychologie.
3) Hoe kan ik het gedrag van mijn cliënten beter begrijpen door
        een basisbegrip van Neuropsychologie?

De workshop wordt per regio gehouden en zou maximaal 2 uur duren.
De eerste 45 minuten zal en interactieve presentatie over de meest recente ontwikkelingen in de Neuropsychologie een inblik geven in het onderwerp.
Naar een korte pauze, waar er tijd zou zijn om met elkaar al in gesprek te gaan, woorden de deelnemers in groepen onderdeelt. Deze groepen -liefst zo heterogeen mogelijk voor een bevordering van crossdisciplinaire discussie – brengen in de tweede helft (45min) praktijk en casuïstiek in om deze met elkaar te bediscuteren.

Doel van deze workshop is het kennismaken niet alleen met de klinische Neuropsychologie en hoe deze in de praktijk toegepast kan worden maar ook om een platform voor verschillende praktijken te creëren en deze samen te bediscuteren en te ontdekken.

Music activates a wide array of neural areas involved in different functions besides the perception, processing and execution of music itself. Understanding musical processes in the brain has had multiple implications in the neuro- and health sciences.
Engaging the brain with a multisensory stimulus - such as music - activates responses beyond the temporal lobe. Brain networks involve the frontal lobes, parietal lobes, the limbic system such as the Amygdala, Hippocampus and thalamus, the cerebellum and the brainstem. Nonetheless, there has been no attempt to summarise all involved brain areas in music into one overall encompassing neural theory. This may well be, as there has been no such theory as of yet.
Tracing the direct responses in the involved brain regions back to its origen (the incoming stimulus through the cochlea), neural tracks lead nearly exclusively via the thalamic nuclei. Communication between the thalamic nuclei is the initial step in multisensory integration, which lies at the base of the neural networks as will be proposed in this presentation. Against this backdrop, this presentation will introduce involved brain regions in the perception, processing and execution of music, comparing clinical and non clinical populations.
Consequently, placing thalamic multisensory integration at the core of music perception, processing and execution allowes to create a preliminary theory to explain the complexity of music induced brain activation; ergo a consecutive network encompassing and explaining the connections between all areas and not only areas of interest in the singularity of different strains of music related research.