OPENCORSEWARE

Unloking knowledge

Empowering minds

Посмотреть ролик и кучу обучающего видео-материала MIT

Как лучше готовиться и как лучше протестировать себя на пригодность перед сдачей экзамена?

Спасибо:)

Рекомендую!

“What is the nature of the human mind?” “How does the mind fit in as part of the physical world?” “Can the mind understand the mind?”

Until we can answer questions such as these, we do not understand ourselves. In a way, these are the most important questions in contemporary intellectual life, because they naturally expand into questions such as “How do human beings fit into the physical universe?” “What is the relation of the social sciences and the natural sciences?” “Do we have freedom of the will?”

Any discussion of these matters has to begin with the French philosopher Ren Descartes, who divided the world into two parts, mind and body. Much of the philosophy of the mind since Descartes has been an effort to put the two parts of the world back together again.

Professor John Searle, one of the world’s most respected contemporary philosophers, takes us on a journey of philosophical wonder, difficulty, and understanding to try to explain the many issues raised in this field of philosophical inquiry.

One of the most controversial questions discussed by Professor Searle is whether computers can think. This question is not as clear as it appears on the surface and Professor Searle clarifies it in such a way as to give us the possibility of a clear-cut answer.

The issues raised by this course are the most central the mind can ask. It is a joy to have them explained and explored with so capable a guide.

PS – смотрите комментарии, там плюшка:)

1) Известный музыкант и дирижер, после повреждения мозга получил амнезию, причем полную – отсутствует и постоянная и временная память, не запоминается даже то что происходило 10 секунд назад. Но, к величайшему удивлению его жены, у него полностью сохранились музыкальные способности – он мог и петь, и даже руководить хором! Музыка – это единственное, что держало его на плаву и не дало провалиться в глубину беспамятства.

2) Некоторые пациенты с болезнью Паркинсона, которые не могли двигаться вообще и говорить, когда начинала звучать музыка – начинали ТАНЦЕВАТЬ И ПЕТЬ! Одна история про пациентку, которая знала все произведения Шопена напамять. Она сидела большую часть времени неподвижно, но если начинала – могла играть на пианино Шопена и в это время болезнь отступала. Более того, ей даже не надо было ИГРАТЬ – достаточно было ей сказать НАЗВАНИЕ произведения, и она «оживала»! и пока в голове ее звучал Шопен, она могла ходить, говорить, двигаться… но с последним аккордом Шопена в голове (четко привязаном по времени к произведению) она вновь застывала в неподвижности.

3) рассказывает истории про людей, которые приходили лечиться от навязчивых мелодий в голове:)

4) история про коллегу-нейрохирурга, которого ударила молния. Через какое-то время он оправился, но через месяц после инцидента почувствовал непреодолимую тягу к пианинной музыке, слушал, и во сне ее сочинял. Начал учиться играть на пианино… До этого – никогда не интересовался музыкой вообще

Вобщем, я эту книжку уже хочу:)

Вот что о ней пишет Scientific American:

MUSICOPHILIA – TALES OF MUSIC AND THE BRAIN
by Oliver Sacks. Knopf, 2007

Music provides a fascinating window into the mind. In my research at the University of California, San Diego, I have found that music and language are deeply intertwined and that listening to music can involve striking illusions and perceptual disagreements. Now Oliver Sacks, world-renowned neurologist and author, has combined his lifelong passions for neurology and music to produce a masterly overview of music and the brain. In Musicophilia, Sacks focuses on individual case studies, which he presents vividly and with care. In so doing, he convinces readers that these cases illustrate—albeit in extreme fashion—aspects of musical processing that relate to everyone’s brain.

Sacks describes people who are so plagued with tunes stuck in their head that they urgently seek medical advice. He writes about patients who hallucinate music—sometimes unrelenting, loud music that interferes with their sleep and ability to function in everyday life. Many musical hallucinations are remarkably detailed, demonstrating that we must possess extraordinarily accurate and precise musical memories that are normally inaccessible to us.

Other cases involve patients afflicted with severe amnesia, aphasia (difficulty with speech) or dementia who have miraculously preserved sophisticated musical capacities. Sacks also encounters patients with Parkinson’s disease who, though usually paralyzed, will rise up and dance to music, as well as people suffering from Tourette’s syndrome who are relieved of their habitual ticks when playing in ensembles. Sacks goes on to consider, among other topics, people who develop insatiable desires for music following brain trauma and unusual musical phenomena such as absolute pitch.

Although the book is deeply personal in tone, Sacks expertly reviews perceptual and behavioral laboratory studies. He provides illuminating discussions of modularity in musical processing—currently a hot debate topic. His case studies strongly suggest that rather than a single music-processing center in the brain, there must be separate neural bases for the perception of rhythm, melody and timbre and for the integration of musical elements into coherent wholes.

Lars-Olov Lundqvist a,b,*, Gunilla Andersson a,c, Jane Viding a,c

A B S T R A C T

Vibroacousticmusic has been proposed to be an effective treatment for individuals with developmental disorders and challenging behaviors. The present study experimentally tested the effects of vibroacoustic music on self-injurious, stereotypical, and aggressive destructive behaviors in 20 individuals with autism spectrum disorders and developmental disabilities. The participants were randomized into two groups in a randomized controlled trial evaluation. The first group received 10–20 min sessions with vibroacoustic music treatment for 5 weeks. Then the second group received the same treatment during the next 5weeks. Behavior was assessed using the Behavior Problems Inventory in all participants before the treatment, after the first group had completed their treatment, and again after the second group had completed their treatment. In order to evaluate each session, the accompanying assistants assessed behavior on different scales after each session.
In addition, the sessions were videotaped and analyzed minute by minute for challenging behaviors. The results revealed that vibroacoustic music reduced self-injurious, stereotypic, and
aggressive destructive behaviors in the participants. In addition, the results indicated that the effect of vibroacoustic music was to some extent dependent on the participants’ diagnosis. Implications for vibroacoustic music theory and practice are discussed.

Мои заметки:

Исследовалось влияние сеансов вибромузыки на пациентов с различными поведенческими расстройствами – self injurous, stereotypical, and aggressive destructive behaviors. При сеансе вибромузыки пациенты слушали спокойную ритмичную музыку с традиционной европейской гармонией и выраженной мелодической партией гитары, при этом с помощью динамиков встроенных в кресло они напрямую получали вибрации частотой 30-80Гц, которые ощущались всем телом.
Исследования показали, что у пациентов с ASD (аутизмом) вследствии сеансов вибромузыки существенно снизилась частота, количество и сила припадков SIB. Кроме того ассистенты отметили, что со временем проведения сеансов пациенты (и ASD и не ASD) чувствовали себя более безопасно.
Сочетание низкочастотных вибраций с прослушиванием музыки приводит к расслаблению, понижению активности, сердечного ритма и пр.

Vibroacoustic music has been found to reduce muscle tone and spasms (Skille &Wigram, 1995; Wigram, 1993a, 1993b) as well as pain (Michel & Chesky, 1995).
Moreover, vibroacoustic music has been reported to reduce anxiety (Ruutel, Ratnik, Tamm, & Zilensk, 2004; Wigram, 1993a) and autonomic nervous system activity, as indicated by decreased blood pressure or heart rate (Skille & Wigram, 1995; Wigram, 1996) and increased finger temperature (Standley, 1991, 1992). Therefore, vibroacoustic music may enhance the relaxing effect induced by music, and has been shown to have curative effects on diverse clinical groups (Skille & Wigram, 1995).

И еще одна интересная цитата:

However, intriguingly, individuals with ASD provide strong case demonstrations of brain specialization for music (Peretz, 2002), and, consequently, music interventions would be particularly appropriate for this group of individuals.

Библиография

• Gold, C., Wigram, T., & Elefant, C. (2006). Music therapy for autistic spectrum disorder. Cochrane Database of Systematic Reviews 210.1002/14651858.CD14004381.pub14651852.
• Lundqvist, L.-O., Carlsson, F., Hilmersson, P., & Juslin, P. N. (in press). Emotional responses to music: experience, expression, and physiology. Psychology of Music.
• Michel, D. E., & Chesky, K. S. (1995). A survey of music therapists using music for pain relief. The Arts in Psychotherapy, 22(1), 49–51.
• Patrick, G. (1999). The effects of vibroacoustic music on symptom reduction. Engineering in Medicine and Biology Magazine, IEEE, 18(2), 97–100.
• Peretz, I. (2002). Brain specialization for music. Neuroscientist, 8(4), 374–382.
• Ritchie, F. (1993). The effects of music therapy with people who have severe learning disabilities and display challenging behaviour. In M. Heal & T. Wigram (Eds.), Music therapy in health and education. London: Jessica Kingsley Publishers.
• Ruutel, E. (2002). The psychophysiological effects of music and vibroacoustic stimulation. Nordic Journal of Music Therapy, 11(1), 16–26.
• Skille, O. (1989). VibroAcoustic therapy. Music Therapy, 8(1), 61–77.
• Skille, O. (1997). Potential applications of vibroacoustic therapy. In T. Wigram & C. Dileo (Eds.), Music vibration and health (pp. 49–53). Cherry Hill, NJ: Jeffrey Books.
• Skille, O., & Wigram, T. (1995). The effect of music, vocalisation and vibration on brain and muscle tissue: studies in vibroacoustic therapy. In T. Wigram, B. Saperston, & R. West (Eds.), The art and science of music therapy: a handbook (pp. 23–57). London: Harwood Academic
• Standley, J. M. (1991). The effect of vibrotactile and auditory stimuli on perception of comfort, heart rate, and peripheral finger temperature. Journal of Music Therapy, 28(3), 120–134.
• Wigram, T. (1997). The development of vibroacoustic therapy. In T. Wigram & C. Dileo (Eds.), Music vibration and health (pp. 11–26). Cherry Hill, NJ: Jeffrey Books.