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An international study co-authored by McGill psychologist Caroline Palmer suggests our brains and bodies don’t just understand music, they physically resonate with it. These discoveries, based on findings in neuroscience, music, and psychology, support Neural Resonance Theory (NRT). NRT maintains that rather than relying on learned expectations or prediction, musical experiences arise from the brain’s natural oscillations that sync with rhythm, melody and harmony. This resonance shapes our sense of timing, musical pleasure and the instinct to move with the beat. “This theory suggests that music is powerful not just because we hear it, but because our brains and bodies become it,” said Palmer, Professor in the Department of Psychology at McGill and Director of the Sequence Production Lab. “That has big implications for therapy, education and technology.” The study’s publication in Nature Reviews Neuroscience marks the first time the entire NRT is being published in a single paper, she said. The theory suggests that structures like pulse and harmony reflect stable resonant patterns in the brain, shared across people independent of their musical background. According to NRT, how we hear and produce music can be explained by fundamental dynamical principles of human brain mechanisms that apply from the ear all the way to the spinal cord and limb movements. Researchers say potential applications of the theory include: Therapeutic tools for conditions like stroke, Parkinson’s and depression Emotionally intelligent AI that can respond to or generate music more like humans New learning technologies to support rhythm and pitch education Cross-cultural insight into why music connects people around the world The study was led by Edward Large (University of Connecticut) and co-authored by Caroline Palmer. About the study Musical neurodynamics by E. E. Harding, J-C Kim, A. P. Demos, I. R. Roman, P. Tichko, C. Palmer, and E. W. Large was published in Nature Reviews Neuroscience. Learn more about McGill’s Sequence Production Lab: mcgill.ca/spl/ The study was funded in part by a Canada Research Chair and a NSERC Discovery Grant.
Came here to make a joke about this “explaining why I’ve always been ‘baroque’” - but after reading it my new takeaway is that this is another good descriptor of why white people have no culture :
Just consuming other cultures while repressing everything through joyless religiosity and wondering why they have no ‘rhythm, melody and harmony… sense of timing …and the instinct to move with the beat’
Instant hall of fame hexbear comment
Jesse, what the fuck are you talking about?!
This is peak tagline material.
So true bestie
Lmao no idea this would rustle people.
Probably because it’s really fucking stupid
Go woke, go baroque
log off
close enough, welcome back bmf
This is the most braindead understanding someone could take away from this article. Tell me you look for reasons to hate white people without telling me. Oh wait, you already did…
The article says that everyone regardless of any social differentiation has certain activity in the brain that mirrors musical patterns of all kinds. Everyone equally has the capacity to technically appreciate any kind of music, because music aligns with our brain activity
This is different from socially-learned expectations, such as tones. In India, traditional music is on a semi-tone scale, which is different from the whole tone scale in western music. These differences in tone are not very mutually intelligible, so people who are accustomed to each type of tonality find the other tonality to sound “off” in a way. Because it doesnt meet the expectations of their cultural ear.
Regardless, people with either type of tonal expectations have the capacity to recognize and appreciate either type of music as music, because at the end of the day it is all sound waves that are mimicking, one way or another, patterns that are happening inside our brains.
Gtfo with the bullshit