Tag Archives: Rhythm

Connection Between Music And Math

I remember the first time I heard the statement “Did you know that listening to classical music enhances your mathematical abilities?”

I was both intrigued and excited, intrigued because I did not understand how music and math, two seemingly unrelated subject could possibly affect each other. I was also excited because I began to view classical music as some kind of magical potion that would transform my math skills from decent to extraordinary. When I had the opportunity to write this web paper for The Silo, I immediately jumped into the topic of music and math. The questions that I wish to answer throughout this paper are; does listening to music really help you do better in math? If so, which part of the brain is controlling the correlation between math and music? In addition, how does music stimulate the brain in a way that enhances mathematical abilities?

It turns out that there is much evidence that supports the positive effects of music on one’s ability to do math.

Most research shows that when children are trained in music at a young age, they tend to improve in their math skills. The surprising thing in this research is not that music as a whole is enhancing math skills. It is certain aspects of music that are affecting mathematics ability in a big way.

Studies done mostly in children of young age show that their academic performance increases after a certain period of music education and training. One particular study published in the journal ‘Nature’ showed that when groups of first graders were given music instruction that emphasized sequential skill development and musical games involving rhythm and pitch, after six months, the students scored significantly better in math than students in groups that received traditional music instruction. (1)

The result of this study posed another important question. How does this type of music that emphasized sequential skills, rhythm and pitch manage to improve children’s ability to do math? It turned out that there are two distinguished types of reasoning, spatial temporal (ST) reasoning and Language analytical (LA) reasoning. LA reasoning would be involved in solving equations and obtaining a quantitative result. ST reasoning would be is utilized in activities like chess when one needs to think ahead several moves.

The effect of music on math sometimes termed the Mozart effect.

The Mozart effect gain its name after the discovery that listening to Mozart’s compositions, which is very sequential, produces a short-termed enhancement of spatial-temporal reasoning. Some key reasoning features used in spatial temporal reasoning are:

1. The transformation and relating of mental images in space and time

2. Symmetries of the inherent cortical firing patterns used to compare physical and mental images and

3. Natural temporal sequences of those inherent cortical patterns (3).

The same people who conducted the Mozart effect experiment also suggested that spatial-temporal reasoning is crucial in math. The areas of math that require ST reasoning are geometry and certain aspects of calculus, which require transformations of images in space and time. In higher mathematics, the ability to write mathematical proofs is also associated with ST reasoning because proof writing is a task that requires intuitive sense of natural sequences and the ability to think ahead several steps.

As to the question, what part of the brain controls the correlation between math and music, there are also many resources that provide answers.

Dr. Gottfried Schlaug, found that certain regions of the brain such as the corpus callosum and the right motor cortex, were larger in musician who started their musical training before the age of 7 (2). As to what happens in that area of the brain when one listens to music, we turn to the experiment performed by Xiaodeng Leng and Gordon Shaw. Gordon and Leng developed a model of higher brain function, which is based on the trion model. The trion model is a highly structured mathematical realization of the Mountcastle organization principle, with the column as the basic neuronal network in mammalian cortex. The column comprises mini-columns called trions.

One particular columnar network of trions has a large repertoire of spatial-temporal firing patterns, which can be excited and used in memory and higher brain functions (3). Shaw and Leng performed an experiment in which they mapped the trion model of firing patterns in that particular column onto various pitches and instruments producing recognizable styles of music. This mapping of the trions gaves insight to relate the neuronal processes involved in music and abstract spatial-temporal reasoning (3).

It shows that the part of the cortex, which contains the repertoire of spatial-temporal firing patterns, can be excited by music and is utilized in higher brain functions such as spatial-temporal thinking in mathematics.

In conclusion, my research into math and music does seem to suggest that music truly enhances mathematics skills. Music targets one specific area of the brain to stimulate the use of spatial-temporal reasoning, which is useful in mathematical thinking. However, as to the question of whether or not music is the magical portion that will elevate anyone’s ability to do math, the answer unfortunately . . .would be no.

Just because most mathematicians are fond of music, doesn’t mean that all musicians are fond of mathematics. I found a letter posted on the web written by a fourteen-year-old overachiever to a mathematics professor. The student expresses his frustration that even though he is an excellent musician, math is one of his weakest subjects. In math, he is not making the grades that he needs to stay in a certain prestigious academic program (4).

This letter seems to suggest that listening to music, or being able to master a musical instrument does not automatically guarantee that one can perform well in math. In other words, there are many musicians who are good in music but not in math. Music is a lot more than notes conforming to mathematical patterns and formulas. Music is exhilarating because of the intricacies of the patterns that occurs. Whether or not these patterns resemble math has no relevance to many musicians. More often than not, musicians are inclined to practice music because of the wonders and awe that they feel for music even if they are not aware of the math that is in music. Cindy Zhan

WWW Resources (1)Making the case of music education (2)Music on the mind (3)Spatial-temporal versus language-analytical reasoning: the role of music training (4)Letter written by a young musician

This Is Your Brain On Music BookThis Is Your Brain on Music: The Science of a Human Obsession is a popular science book written by the McGill University neuroscientist Daniel J. Levitin, and first published by Dutton Penguin in the U.S. and Canada in 2006, and updated and released in paperback by Plume/Penguin in 2007. It has been translated into 18 languages and spent more than a year on The New York Times, The Globe and Mail, and other bestseller lists, and sold more than one million copies.

Poetic Grace Gesture Is Needed In All Art Work

Dear Reader, it is difficult to deny that a side of art making is fatally concerned with the poetic grace of the gesture – it is expected that a work should exude a cosmic and ineffable air.

Metropolitan Museum Of Art Curator Denise LeidyRegardless of your medium, I hope this glance into the minds of two established poets from very different walks of life can help dissipate the intimidating mist between process and product, as well as remind you that the transcendent and the familiar are often one in the same.

Meena Alexander PoetGlobal spectator Meena Alexander recognizes that even in the grand art of poetry is a desire to express what cannot be said through its own means. After eight books of poems and a lifetime of travel, Alexander continues to defend her craft as the most ordinary of entities, no more inexplicable than a child’s obvious and impossible sense of language or rhythm.

New York-based Eileen Myles approaches poetry from a reserved and humble perspective, with the intent of striking a tasteful balance between metaphysical grandeur and the habitual rhythm of the everyday.

Eileen MylesMyles, a breathing artistic currency, treats poetry as an extension of the self with the potency of a movement and the collective memory of a civilization. Myles proves that common experience and abstract phenomena are synonymous when we step back to look.

If the weight of the world seems so immense that the few strands of creativity cannot unravel, the Mayer Foundation offers emergency funding for New York artists facing economic, residential or medical turbulence. Proposals may be submitted at any time, with over two thousand dollars granted to those with concrete objectives and a levelheaded art plan.

It is easy to forget that behind the polished mirror of history is a messy and cumulative reality. There is little difference between the intelligentsia of years past and the friends sitting at your dining room table. For the Silo, Brainard Carey.  

Supplemental-

Using Voice Tones To Teach Improvisation For Beginner Jazz Guitar

This article discusses an approach to teaching linear improvisation to beginning jazz guitarists through the function of voice leading in harmonic progressions. The guitar student may gain a clear understanding of improvising melodies by establishing clear visual and aural relationships between the chordal and melodic textures.

Three dominant 7th chord voicings are introduced and applied to a twelve bar blues progression in F major. After learning the rhythm guitar accompaniment, single note guide tones consisting of the flat 7th and 3rd chord tones of each dominant seventh chord are extracted from the chord voicings and applied in a melodic texture following chromatic voice leading principles within the harmonic progression.

Musicality within the exercises is increased by the addition of a series of rhythmic variations that are applied to the guide-tone lines. Continuing with the concept, full dominant seventh arpeggios are introduced in order to expand the available note choices as a way to build a solid foundation for improvising within harmonic progressions prior to using diatonic scales.   By Daniel Andersen from the Journal: Revista de la Lista Electrónica Europea de Música en la Educación  Click here to read the full article. *Picture: Jazz Guitar legend Herb Ellis