NEUROLOGICAL AND PSYCHICAL BASES OF MUSICAL

LANGUAGE

Dante Roberto Salatino

National University of Cuyo

Abstract

This work is based on the subjective nature of music, so any living being is

sensitive to the fundamental and natural musical elements. The aim of the article is

to show that music is a natural language that not difference of our mother tongue,

because both are undergoing an evolutionary ontogenetic process parallel to the

development and evolution of the nervous system. Its main contribution is the

proposal of stage of ontogenetic development of musical language, which are

addressed by Transcursive Logic; a tool and a method suitable for analysis of

subjective phenomena. The detailed knowledge of the basic and natural musical

elements and its relationship with life, affection and coexistence has, on the one

hand, educational implications, since the operation on each of these elements

allows an education that favors the psycho-bio-sociocultural aspects that

characterize the subjective reality of the human being. On the other hand, it has

therapeutic implications; has been shown that listening to music, the patients with

various neurological and psychical disorders, emphasizing each of the basic

elements, can influence on various aspects of their disease.

Foundation

The art of the Muses, as the Greek definition of music is both, plus a

combinatorial art of sounds and silences, something magical, and a complex

science. All previous characterizations have as common factor, the fact of being

clearly subjective phenomena. Therefore, the musical creation, as well as the

rewards, motivation and pleasure that music provides for whom hears it, are not

the result of that us being formally owners of an empty virtuosity, but by their deep

roots, that as a natural language, has in the subjective reality, that which transiting

through the biological, psychical and sociocultural domains.

In this article we will show that any living being may be sensitive to the

fundamental elements of music, but also and according to their evolutionary level

to its natural components. But not so with what I call conventional musical

language (musical notation); symbolic aspect that is unique to man and which only

be achieved dominate after mediate an education in this regard, which tells us of

their status of acquired through experience. Since the Transcursive Logic (TL)

(Salatino, 2009), we will analyze the aspects that make the music a real subjective

manifestation of our thinking, which it takes 'to skin flower' whenever we are

listening, executing or composing a piece of music, whether instrumental or sung it.

The TL is the logical support of a theory of psychic functioning that justifies all

subjective manifestations of man (Salatino, 2013). It is a method and a tool to

analyze the subjective phenomena.

The above is possible, in animals with central nervous system (CNS)

basically for two reasons; on the one hand, given the existence of neurological

structures organized in a brain that enables management to psychic (Salatino,

2013); and secondly, to the characteristics of the musical language, that with a

close relationship with our natural language (Salatino, 2012), allow to perceive,

know, understand and produce music.

In humans, the ability to manage music as percept1, It allows that the music

has, like all art, an aesthetic and communicative purpose, but also help shape our

psychic structure and put it into functioning; that is, prepared to express affection

and give the necessary elements to conceive, encode and interpret a musical

composition, after a variable time of practice. Also, and for the same reasons,

reducing stress levels or excitement, to prevent disease (Chanda and Levitin,

2013).

1 "The percepts are the domain of art [...] A percept is a set of perceptions, of sensations that survives to who experiences it". Deleuze, Gilles. The ABCs of Gilles Deleuze, 1996, p. 96. Trad. Raúl Sánchez Cedillo.

Objectives

Among the objectives of this work it is to demonstrate that music is a natural

language, and therefore, is subject to an evolutionary ontogenetic process that

parallels the development and evolution of the nervous system, and therefore, the

psychic apparatus that resides in it, like our everyday language; highlighting that

both its basic such as natural elements have a deep psychical roots (Salatino,

2013; Llinás, 1988/1994).

Neurological structures of psychic functioning

The brain, like any organ of the body, works because its main cells, neurons

have the ability to maintain permanently, and due a high energy consumption, an

electrical imbalance between the interior and the environment where they are.

This electric engine, synonym of cellular life, in neuronal field also has some

particular characteristics. Perhaps the more relevant is the possibility of modifying

autonomously, their level of excitement; that is, generate stimuli and propagate

according to different functional needs; or conversely, inhibit its operation to

modulate the responses.

In 1988, Rodolfo Llinás demonstrated that not all neurons the above

mechanism are administered the same way (Llinás' law or law of no

interchangeability of neurons), giving rise to an oscillatory behavior, allowing them

to work at different frequencies; this makes certain nerve cells, like the inferior olive

(medulla oblongata), thalamus and the basal ganglia (brain), can regulate and

modulate brain activity, becoming a true pacemaker, indicating what to do, how

and when do it.

We can describe three neurological pacemaker (Figure 1). The pacemaker

formed by the connections between the basal ganglia, thalamus and the cerebral

cortex, responsible for ordering the perceived patterns and coordinate with the

existing level of consciousness at the moment of perception (Salatino, 2013, p.

101). The pacemaker described by Llinás that explains, among other things, the

mechanism that allows to unify the perceptual process through differential

operation of thalamocortical circuit, wherein the specific thalamic nuclei receive

which provides the environment (external reality) , and nonspecific thalamic nuclei

give then the context (temporal) necessary, to previous content (Llinás, 1988, p.

1661).

Fig. 1 NEUROLOGICAL PACEMAKER References: − ∙ − ∙ (psychic structure) - − − − (movement) - ─── (perception)

The mechanism underlying the previous pacemaker is the detection by

simultaneousness as the which operates to level of the pyramidal cells of the

cerebral cortex (Llinás, 1994, p. 262), which also lets you control the process

necessary for give meaning to the perceived facts, and thus lead to the psychic

structure (Salatino, 2013, p. 109).

Finally, the pacemaker represented by the connections between the inferior

olive and cerebellum, which is responsible for generating and coordinating motor

responses, functioning also as a operative memory in which learned routines (for

example, the movements necessary to execute a musical instrument), that with

proper experience, they become habits; that is, motor routines that are

automatically executed.

Furthermore, there is a psychic pacemaker (Ibid, p. 176), operating on the

same neurological structures described above can control, simultaneously,

different evolutionary and functional moments of the psyche. The functional aspect

is supported in a sort of temporary engine, hence the ability to psychically influence

with music, since it has a common factor with the psyche, time.

Subjective reality, according to the TL, is composed of three real systems

(Salatino, 2009, p. 78) and are identified in each of them, a fundamental unit as

detailed below: 1) Logical Unit as sustenance of bio-external system; 2) Unit sense

as the basis of psycho-internal system; and 3) Semiotics Unit as support of

sociocultural system. The concurrence of these three units gives existence to the

subjective semiosphere.

The psyche, to be imbued with this complexity and function in coordination

with the neurological structure that sustains, have the ability to properly handle the

relations that as real system (psycho-internal), has with other systems; joint task

supports the features that identify the subjective. The psychic arrangement and

their functioning allow pay attention to the different real systems; only way to build

a structure according to the demands of the environment. The psychocytes

(functional units of the psyche) (Salatino, 2009, p. 170) are arranged in the

cerebral cortex of a homologous way to the surrounding reality, so you are having

the possibility of pay attention to the different levels in the structure / functioning

which organizes the psychic, operating alternately and as required, on the units

specified above, and thus record and / or respond to what is presented by each

real system.

The units selector mechanism and therefore promoter handling the

structural elements (ideas, species) and functional (thoughts) in order to compose

a response (PAF = fixed action pattern) according to the requirements, which is the

location of the psycho-internal system in a given operating frequency band, as

needed.

Fig. 2 CEREBRAL CORTEX References: the lower graphs correspond to a recreation of the monkey cerebral cortex of the 17 area (visual cortex). The superior graphics and left side are an emulation of such a structure, from the TL (Salatino, 2009)

The oscillating structure of our psyche is minicolumn (Figure 2) that can be

composed, only as practical example, by 40 psychocytes, which have the ability to

record 25 msec each of them.

This gives the minicolumn the possibility of a temporary record of 1 second

(1000 msec).

The psychic, qualitative or internal time is handled by three clocks (Figure

3).

Fig. 3 INTERNAL TIME CLOCKS

The figure above shows how psychic structures are arranged around the

axis of chronological or external time (now). Because of didactical issues we have

represented only one turn of said spiral, where has been discriminated the different

functional units; that is, different frequencies on which oscillates the minicolumn, it

is used as selector of what must registering in a real system determined (Idea),

and to develop the appropriate response to what is perceived (PAF).

We see that are defined the three units already specified, that is, the logical

unit that is put into operation when the minicolumn oscillates to 80Hz and serves to

operate the temporal wedge, that is, in half the time interval between now

consecutive (Nw1 and Nw2), where is the species or structural unit of the psyche

(psychocyte's nucleus), whose operation is unconscious and is linked to bio-

external system. The unit of sense, when the minicolumn oscillates at 40 Hz, which

is used to implement functions all systems operating during wakefulness (also

during REM sleep): in the first quarter of the time between ‘nows’, the perceptual

system, and in the last quarter of this time, the motor system to provide an

adequate response to what was perceived. So are completed the 25 msec that

managing a psychocyte, the functional unit of the psyche, of unconscious nature

and basis of psycho-internal system.

Finally, semiotics unit is selected when the minicolumn oscillates to 10Hz,

involving four psychocytes. Of mixed nature (conscious and unconscious), it is

used to communicate with the environment and with others, so it is linked to socio-

cultural system.

In conclusion, for the integrated management of the psyche we have a

series of neurological pacemaker that operate, the circuit thalamus-cortical (of

cognitive nature) by simultaneity relative, while the olive-cerebellar system (of

volitional nature) operates through of absolute simultaneity. The psychic

pacemakers, meanwhile, operates with absolute simultaneity to identify the

constituent elements of the actual facts (Salatino, 2013, p. 275), which, besides

allowing the construction of a psychic structure according to the perceived, makes

it possible to know the subjective reality, that is, 'embodying it'.

The functioning of all the units described is closely related to the different

evolutionary instances of musical language, as discussed below.

Evolutionary history of musical language

There is nothing to differentiate, evolutionarily speaking, the musical

language of our natural native language. The explanation for this is the absolute

relationship between the origin of a natural language (and the music it is) and the

origin and evolution of the nervous system, which is applicable to any living being.

It has been shown, for example, that plants have a nervous system that has not

only evolved with the plant, but has achieved a high degree of perfection, having a

sensitive system, a reflex arc and a pathway that transmits a motor impulse, which

are no different from those found in any animal (Bose, 1926, p ix.); and where you

can see three types of responses: 1) Contractility: movement following a stimulus,

2) Rhythmicity: some movements of plants occur automatically, as the heartbeat.

In addition, all plants show a throbbing or rhythmic growth, and 3) Conductivity:

transmitting electrical excitation associated with movements of a plant (Volkov,

2012, Vol.1, p 15).

We demonstrate (Salatino, 2012, p. 76) that the three developmental stages

of the nervous system, that is, an independent effector (own of plants and

unicellular organisms), a basic central nervous system (typical of multicellular with

central nervous system (CNS) or non-human animals), and a CNS developed (own

of the human being), consistent with the evolutionary stages of natural language

(regardless of which be) (Figure 4).

In the first stage of development of natural language (NL) (plants and

unicellular), the sensing element is the change, the expressive medium the signal;

the NL called taxic because it is evidenced by displacement (approximation and

estrangement), depending on whether the environment is favorable or hostile.

In the second evolutionary stage of NL (animals), the sensing element is the

object, the expressive medium the sign (that which indicates the relationship

between two objects through a change), so their NL is called signic.

Finally, the third evolutionary stage of NL (human), the sensing element is

subject, its expressive medium is the symbol (or what records the relationship

between a subject and an object, through a change) and its language, then, is

called symbolic.

Fig. 4 STAGES OF DEVELOPMENT OF CNS AND NATURAL LANGUAGE

Man in his brain integrates the three neurological stages, and therefore also

stages of the NL. Figure 5 attempts to summarize the above, emphasizing

behavioral aspects and linguistic, typical of all members of subjective reality. In the

figure you can see how the response of each level of biological complexity is

structured according environmental requirements, as phylogeny or evolutionary

history of living beings progresses.

Fig. 5 PHYLOGENETIC DISTRIBUTION IN THE CNS References: PAI = immediate response – PAE = Changeable response by experience – PAA = learned response (acquired)

The table shown in Figure 6 provides insight into why music as natural

language, can influence the plants, animals and of course, in man; but also how

the rhythms, the melodies and the harmonies produced for every biological level

can influence their environment and to those who share with him.

In humans, is fulfilled the evolutionary rule that ensures that ontogeny

recapitulates phylogeny, as it integrates not only the different levels of the nervous

system, but also various natural languages and the respective communication

mediums.

All natural language, like music, serves only to communicate affectively.

Affective communication derives from the sensible, that is, the way in which the

facts affecting any living being it becomes evident; that is, that produce sensations

or the impact which is evidenced, according to the level, in the biological, the

psychical and the social, and whose entrance door are the senses.

Fig. 6 TABLE

Affective communication, according to the table above, can be divided into:

1) instinctive communication, with focus on the subject and using as substrate the

simple plants and animals, is exercised through taxic language; 2) emotional

communication with the individual (social subject) as focus and animals with CNS

as a substrate, is carried out by signic language; and 3) emotive communication,

whose focus is the group, its substrate the man and his language the symbolic.

When we say instinctive communication we are referring to an

externalization of what affects life, therefore, it affects any living being; when we

say emotional communication we want to highlight what affects our relationship

with the environment and represents the neurovegetative expression of emotion;

whereas when we say emotive communication we mean the ability to provoke an

emotion in the other, that's what we do, for example, with musical compositions

and that obviously is the exclusive preserve of men, which has the peculiarity also

to integrate into your brain the three communicative levels that exerts according is

in play his life, environmental adaptation or social relationship.

Main contribution

Ontogenetic development of musical language

The evolutionary achievement outlined in the previous section, talks about

certain neurological and psychical predispositions that were acquired

phylogenetically by living things. Once born a subject in particular becomes

operational an ontogenetic development process that affects each, as permitted

their level of biological complexity.

In any case, always are present a ontogenesis structural and a functional

expressed universally in the structure; Naturally, in the sense that it takes for the

subject the perceived; and pragmatically, that the subject is able to offer to its

environment, leaving a record of a process of adaptive development, where it can

even, to highlight its ability to generate, from its universal matrix, shapes having

various modalities of expression.

That is, you can create new ways to communicate, at least part of their

affective background, whether to operate on the environment for adaptive

adjustments or to decisively influence over their peers, causing them intentionally

an emotional reaction similar to which he himself has experienced at the moment

and circumstances of creation (musical expression).

In the language of music we can be found all that we have mentioned, as

shown in Figure 7.

That music is a language, it is demonstrated from the moment it can be

approached from point of view traditional semiotic , as it has, according to the

figure below, a syntactic component (structural): the universal language (UL)

supported in bio-external system, one semantic (functional or of the sense): the

natural language (NL) developed by the psycho-internal system, and one

pragmatic (of projection): the conventional language (CL) that emerged from socio

rules cultural and is acquired through education.

Fig. 7 MUSICAL LANGUAGE

References: UL = universal language – NL = natural language – CL = conventional language - ▽ =

profound level - = disjunction - = conjunction - = superficial level - = structural (static) - ᅌ=

functional (dynamic)

However, in this paper, we will discuss the music from the psychic structure

and function. In Figure 7, we see that is structurally supported in a universal

language (UL), so called because their relational proposal is repeated in the other

instances (functional and of projection). This pattern of relationships it is configured

when assembled, simultaneously, a superficial or apparent level with a profound or

occult level.

The fundamental elements that define, to superficial level, the structure of

musical language are: tonality and rhythm, arranged in opposition mediated by a

change or evident transformation: the melody, who shares the frequency and

duration that define the tonality and rhythm, respectively. Whereas that profound or

occult level, we have a single element: harmony, it lacks the constraints of the

frequency and duration, is directly opposed to superficial change, that is, to the

melody. In short, the UL is defined by an opposition mediated by another

opposition, that to superficial and functional level, allows to know the music, when

the relationship is established between tonal DNA and melody, and make sense,

when is linked the melody and the rhythmic unit.

According to Figure 7, the natural elements, which superficially define the

function of the musical language are: the form (structure) and the motif (rhythmical

figure), mediated by the superficial change that represents the theme (musical idea

formed by one or more motifs), who covers the structural and functional aspects

that characterize the form and the motif, respectively. In a concealed manner, we

have as a profound change, the texture (assemblage of melodic, rhythmic and

harmonic elements), that without represent a structure or function, opposes directly

to the theme. It is repeated again in the NL, the universal pattern of an opposition

mediated by another opposition, that to superficial level, functionally, allows the

affective expression to link the musical idea to the theme, and allows the

interpretation to highlight the relationship between the theme and the formal

structure.

Finally, in the same figure, the projective superficial elements that define the

musical praxis are: improvisation and imitation, mediated by adaptation that as

superficial transformation has the direct and indirect nature of improvisation and

imitation respectively. As profound change is creation, that without being directly

nor indirect, is opposed, without intermediaries, to adaptation. The CL of music

(musical notation) repeats the universal pattern that pragmatically, leads both to

the talent to be able to adapt an imitation using reason as to the virtuosism, to

power adapt an improvisation, making a distinctive use of practical knowledge.

We must emphasize that the backbone of the musical language is in the

close relationship between the profound elements of its three components; that is,

harmony or visceral organization of chord by the UL; texture or affective integration

of the three basic musical elements, through the NL; and the creation or social

projection of feelings and motivations with the help of CL.

Implications

We have found that music is a natural language, which does not differ from

our native language; and this is because they are the same nerve and psychic

structures, which give them sustenance.

The music has to do with life, with the affections and coexistence, it is

therefore at the same time, a need, a desire and a belief. This subjective

integration makes of music a universal means of expression and communication

that while projecting socially through their aesthetic appearance, so does

psychically by the affections, and even in biology through sensations. For that

reason, any living being is influenced by music, as there are in their lives, at least,

oscillatory and rhythmic components that share.

This explains why the sound is so great influence on the growth of plants

(Xiujuan et al., 2003) and in the behavior of animals, including man. In the latter,

the music not only reduces stress, but also exerts a therapeutic action. Music

therapy has its reason for being, given the structure and neuropsychical functions

phylogenetically inherited, that is, music that we have within us. That this is so is

shown by the fact that despite having sometimes severe neurological or mental

disorders, the music continues to exert its action, indicating that the use of basic

musical elements (especially tonality, rhythm and melody) remains unscathed

(Schneck and Berger, 2006, p 138).

Another aspect to consider, and that is derived from that seen in this work,

is the fact indicating the great social influence of music, through sharing with

others, not only the place where one lives and standards to meet in dealing with

our fellow men but also, our beliefs and cultural paradigms. Because of the

profound change that music produces in our behavior and our emotions, we

understand that, just as happens with our usual language, the pragmatic

projections that we have detailed; that is, improvisation, imitation, adaptation, and

of course, music creation, leave their social imprint for being stained strongly with

our affections, beyond possessing a particular talent or virtuosity.

Educational implications

Following the ideas of Willems as far as music is concerned, we can say

that it is more important to educate that teach, develop existing skills that to exploit

them, cultivate vital values (acoustic and rhythmic) instead of promoting a mere

virtuosity. That is, deeply analyze the nature of the material elements of the music,

which no doubt, they are not only in the music itself, but also and mainly on the

structure and psychic function. For this reason, the TL offers the possibility to

investigate and operate in each of these elements in order to adapt and rescue to

achieve an education, where be privileged, the bio-psycho-socio-cultural aspects

that characterize the subjective reality of any human.

Therapeutic implications

Numerous contributions (Claeys et al., 1989; Jochims, 1990, Aldridge, 2000;

Thaut et al., 1997; just to mention a few) say the music by patients with varying

degrees of brain injury, and even in cases of severe psychopathology (psychosis),

improve their attentional and perceptual state, as well as, help them recover their

memory. In many cases, the best results were obtained improvising a musical

composition by therapists, which has its foundation, as seen by the TL, in which

improvisation is the deployment of a certain virtuosity that allows to adapt a melody

using some practical knowledge; therefore encourages the possibility of adapting

an imitation using reason, that is, allows rescue from the depths of the psyche, its

main engine: the timing that allows normal operation, thus generating a

synchronization progressively approaches to a better coordination of higher

psychic functions.

References

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Appendix

Glossary

Tonal DNA: When the tones are perceived, adopt a helical arrangement, as

proposed by some researchers (Drobisch (1852), Shepard (1965 and 1982). The

separation between the turns of the helix is one octave (interval between two

sounds whose fundamental frequencies have a ratio 2: 1). In psychic structure

according to the TL, the separation of the turns of psychic DNA is 25 msec,

keeping the same ratio (2: 1). (Salatino, 2009, 208 p.). Since that this provision is

given as the modulator of the psychic representation of tonality, and the similarity

with the structural proposal of TL, we know him here as tonal DNA, and assign it

the capability to provide basic elements to the form or structure musical, at the time

of composing.

Musical expression: refers to a natural way to communicate affections

(feelings and moods).

Form: term used in aesthetic sense, it means that a piece is organized, that

is, consisting of elements that work like a living organism. (Schoenberg, 2000, p.

11). It has a close relationship with the structural.

Musical interpretation: the art and craft of running a musical instrument

works by various composers, combining the knowledge of conventional language

(musical notation), the technical mastery of the instrument and sound and

sensitivity, expression and commitment of the interpreter. Our larynx is the first

musical instrument that made use humanity, so the singing should be regarded as

a very special interpretation, because it is the only musical medium that can

integrate text to a composition.

Motif: brief melodic and / or rhythmic figure that combined with others

produce a recognizable shape or contour which usually involves an inherent

harmony. It is considered often as the germ of the musical idea. (Ibid, p. 19)

Musical texture: refers to how the melody, rhythm and harmony are

interrelated in a musical composition. (Benward and Saker, 2008, p. 145).