The Psychology of Global Music Interconnections of psychology within global aspects of music exposure.

1. Running head: GLOBAL MUSIC AGENDA IN MODERN PSYCHOLOGY Global Awareness: Global Music in Modern Psychology Jacob R. Stotler ANTH 3015-40 Dr. Tiger Robinson The University of Wyoming

2. GLOBAL MUSIC IN MODERN PSYCHOLOGY 2 Global Issues: Global Music in Modern Psychology Introduction Music in all of its definition, carries with it a connection to politics and economics, and this is true across the globe. While if people are to be separated by the music they make or listen to, these aspects of life are all: economic, political, regional and most now than ever- geomusical issues. If people are to be separated by the music they listen to, they too are then separated by their relationships, the region they reside, and their belief systems. While cultures are separated by their food, the music, their art, their relationships, their norms, and otherwise, psychology and culturalism too differentiate, and accordingly to these factors. The importance of context, region, religion and political access are important elements that are a must to be accounted for relative to how people access music, what they use the music for, and what people, bands, groups, sounds and lyrics can be said to be favored. Music has in the past, been a symbol of the victory between how people are separated and other times how people are unified. These boundaries in music are societal boundaries and personal boundaries. There are differences in the music listened to in most all of the societies across the globe, as well as there are major psychological congruencies from any one culture to the next. This paper is written to cover the boundaries that we have identified that link individual musical interest by psychology. The paper explains numerous local and distal issues regarding the domain of global music, as well as we introduce and justify music through six different panoramic views of the prospect of ultramodern psychology. The six domains are conglomerated

3. GLOBAL MUSIC IN MODERN PSYCHOLOGY 3 from modern literature of psychology, such named as: Biological / Developmental, Cognitive, Mental & Physical Health; Religious & Spiritual and Social & Personal; (Lumen, 2019). Music is built, carried and supported by the people; while the psychological domains of the integration of music is important, we must also admit that people on a more subordinate level, have different psychologies, different tastes and separate desires in music. For there must be some based reasoning for why people listen to the music that they do. Perhaps psychologists, psychological theories, and enactable tools in psychology have already explained or opened the doors some of these connections. Mental & Physical Health One thing we know in psychology and medicine, is that feedback is important biological instrument and it is important for progress, in medicine, the thinking process, and even in language learning and language abilities. We read from Goldstein and Brockmole (2017) that listening to “pleasant music” has been proven to provide a positive feedback loop into the body. Music decreases intensity and the physiological receptivity of pain in modern psychology trials. They made note from research, that some music, pleasant music (overtures), over others, unpleasant music (alternative music) was even comparable to the effects of analgesic drugs. These findings give us evidence to introduce that it is possible that people, unconsciously, or consciously listen to music to kill pain, or even set themselves at ease with certain struggles, especially if we consider music with lyrics. Within the sciences of psychology, we know that repetitive thought has a high likelihood of initiating a systematic loop of this thought, known such as the practice effect, or even Long-Term-Potentiation. These methods in psychology are known to make things harder or easier to think and believe, according to how

4. GLOBAL MUSIC IN MODERN PSYCHOLOGY 4 much “reinforcement” has gone into the repetition and whether emphasis on progress has been positive or negative (Hall, 1998; P.1). Thus, repetition is relevant to musical therapy. Repetition is referred to as a “central phenomena in music therapy practice” (Johansson, 2016). Music has been a reinforcement to psychology in this way, perhaps supporting many forms of thought processes- especially regarding discovery, colonization, and for novelty and preparatory practices during wartimes. An indicator of health within music may come from self-reports from what is said from individuals about how the music makes the person feel when, and after listening to it. In this manner, it is possible to prove good health being instigated by music. Research due of these self-reports could indicate what attributions or supports that people seek or utilize in the music they listen to. Religious / Cultural / Traditional It is no mistake, to say that music holds a distinct connection with religion and spirituality. The possession of music, locally, can be said to come from different outlets such as friends, church, religious acquaintances, locale societies, local institutions, local venues, local tribes, local groups, local news outlets, and local availability / presentations. These routes of accessibility are a matter of the available resources that the community offers. With this, we know that there are wars, battles and strife throughout the world that are ongoing expressions of religious separation and contention, thus, people’s religions are a great divider of their way of life. It has been said that 83 countries in 2016, out of the 195, were known to have some sort of religious restriction (Clarke, 2018; WorldOmeter, 2019). Music then too, falls within these restrictions.

5. GLOBAL MUSIC IN MODERN PSYCHOLOGY 5 We may find that a person listens to their church music, because this outlet is accessible, as well as accepted in the dimensions of their life. Religion and the beliefs behind a person’s religion may be a governing resource in the person’s life that distinguish the accepted forms of musical that person takes part in altogether. The psychological satiety that people seek in music, is intimate, personable and sensitive. People seem to be constantly edacious to please their musical appetite, and sometimes the choices made in quest for these arts, turn out to be lifestyles, ways of life, and a variable of the human condition. Religion is a component of psychology, and stepping aloft from the restrictions of such group may be means for ostracization, rejection or even the fate of damnation. Religion then must be one robust factor that shapes a favor in music. Cognitive A cognitive approach to music would be best modeled and illustrated by using an already esteemed psychological theory; a theory introduced by a Russian psychologist named Bronfrenbrenner in 1979. The Russian theory frames the individual’s divisions of opportunity in initiating the relationships needed for external transactions. Brenfenbrenner’s Ecological model of understanding a person’s resources in society can be almost flawlessly applied to how people and especially children, learn of music and how and why they adopt these traditions / commodities into their closer daily life. The five divisions, outside of the individual, were stated to be- the Microsystem - where people associate with others such as one’s significant other; the Mesosystem– where the individual is introduced to their teacher or their close friend’s family, outsiders from that of personal associates, the Exosystem– the resources of their locale community. The Macrosystem -

6. GLOBAL MUSIC IN MODERN PSYCHOLOGY 6 the institutional patterns of the larger culture, their relationships to war and government, resources outside of their city community, and finally the Chronosystem– which represents a dimension of accessibility according to time, and according to their connections over a lifespan, this is relevant on the global scale of how growing popular trends and luxuries travel slowly to some regions, and quickly, or instantly to others. We can construct a good idea of how people access music and find certain music and musical tastes accordingly by this template of importation and exportation. The idealization of Bronfenbrenner’s theory seems most solidified, because accessibility and the actualization of resources are organized, furthermore, apportioned on a scale that is essentially inescapable. Why this model defines to us a cognitive aspect of musical culture upon a psychological theory, is because cut by this model, is both a clear representation of resources and limits upon those resources in which explain the accumulation possible by an individual from outside resources. Thus, the opportunities in which a person seeks, cognitively and musically, are upon a system of balances and transactions in which they pursuit an escape from limitations, and at the same time, they prospect upon the most attainable path towards replenishable opportunities. Our resources and our music are evidence of each other, we can define this as a cognitive aspect of musical psychology. If we are intellectual, we are behavioral, and if we are sought to develop more complexity in our lives or simplify our issues, the music we seek is a reflection of that individualized cognitive approach. There is a balance between our decorations and our beliefs. Biological / Developmental

7. GLOBAL MUSIC IN MODERN PSYCHOLOGY 7 If we cover the biological factors of psychology stemmed from music, we must speak of the issues of memory, emotions, and pleasure, and the connections to music that have been drawn from biopsychology and developmental psychology before. These bio-connections to music being: bio-plasticity, regulation of arousal and mood, self-awareness, social relatedness and expression, identity formation, sensation seeking, functional connectivity, entertainment, social-suppleness, bio-evolution, individualization / escape, and even the use of music as a means of love or serenade (Shafer, Sedlmeier, Stadtler & Huron, 2013). All of these measures of the human psyche are psychological concerns and geomusical and locale-musical issues, at the same time that these issues will vary diversely throughout specific regions and cultures. Music is established as biological both as a taste and an attraction, music is also a biological connection to other human beings, through philosophy, lifestyle, fixation or even addiction throughout the world. The act of moving to music when it is heard is much like a reflex from the ears to the brain, to the body. In psychology, we know this both as a physiological response, and we too are aware, that the response and action / the use of unconscious reflex is a major concern and concept in which we use to learn, to grow, and to survive. Reflex is a tool for biological engineering in the domain of psychology. We associate physical reflex with conditioning known as conditioned-reflex, and the applications of conditioning have major uses in medicine and psychology. Music has a large power within biology by psychology, and upon a multitude of applications. The nuclei or brain module that is most locally associated with the response or recognition to music is known as the temporal lobe, yet not to mention too, the basal ganglia has a defined correlation with a musical tempo, as well as there is a known increase in connectivity between cortical regions and subcortical brain regions when the person experiences a musical beat (Goldstein & Brockmole,

8. GLOBAL MUSIC IN MODERN PSYCHOLOGY 8 p. 309). The temporal lobe is connected very closely to the auditory pathways, and networks involved in hearing and aural perception. This live system is an electrical transduction system, and then such, these areas bifurcate and share proximity with the areas of language and interpretation. Further on a biological plain, we know from studies in hospitals in Finland, that Event related potentials (noticeable jumps in electroencephalography [EEG] signals or neural excitations indicating cognition) can begin to be recognized or conditioned from stages prior to birth relevant to the sounds outside of the womb (Partanen, Kujala, Tervaniemi & Huotilainen, 2013). Partanen, Kujala, Tervaniemi & Huotilainen (2013) had written from research conducted in hospitals throughout Finland, that fetuses have a prenatal auditory environment in which they have demonstrated the capability to associate sounds that once happened outside of the womb after they are born. This can be transliterated into the idea that the fetus has a direct connection with music, and auditory stimuli are interpreted by the fetus during prenatal development. These effects / recognition responses found by EEG during postnatal ages, were found to remain for many months and stem from musical therapy conducted while the baby was still developing in gestational stages. The phenomena of prenatal auditory exposure is said to be connected to both positive and negative auditory environments, thus predetermining a positive or negative bonds to sound/music from incubational periods. The heuristics and psychological applications that are relevant to the biological processes shared among music and psychology are: the mere exposure effect, where people are said to be influenced by stimuli, externalities, and external applications even if exposed to these attributions only once. The mere exposure effect also tells us that the human condition has

9. GLOBAL MUSIC IN MODERN PSYCHOLOGY 9 somewhat of a tendency to find agreeability in repetitive exposures. Thus, exposure to something even one time, raises the likelihood that we will begin to associate that factor into our life, or even utilize that factor as a means or accommodation to our own survival. This is the aspect that may worry authorities where the mere-exposure effect has been associated with classical conditioning and thus addiction (Curran, Olson, 2015). We can pinpoint that people globally, may seek out musical interests to associate closely with their peers and to find lovers in hopes to be accepted into a group, or eventually reproduce. Music in this sense becomes a biological contrivance. We can see the use and popularity of music as a serenade in Mexico. While mariachi music is known to tourists and natives as a music that speaks to the listener from festivity and cultural tradition. It is also thought the mariachi, is a word originated from a French term marriage, which translates into the English –marriage (Haciendo, 2011). The headlining theme for such mariachi music emulates lyrical presentations of the gallivant and love poetry. The music is somewhat Herculean but soft-spoken and delicate, it coddles the listener in such versus such as “Wake up sweet love of my life, wake up if your asleep. Listen to my voice vibrating under your window” (Hacienda, 2011; Malandra, 2018; Olvera, 2013). People have a biological interest in music in which may rival the concept of why people identify as a certain gender over another. In this aspect, we see nonobjective means for a person’s interest in specific music; these interests are emotional and biological. Social & Personal

10. GLOBAL MUSIC IN MODERN PSYCHOLOGY 10 The social aspects and personality of the individual and beliefs of the surrounding groups, peer groups and individual are important aspects of an individual’s relationship to music. As we see in Bolivia, the types of culture that children and people are exposed to, and take part in, are regionally based and based upon their status as indigenous [native] or elite [AKA: an aristocrat]. We can accept that an opportunistic example of the psychology behind music is archetypical in the South American subsumed country Bolivia. We recognize an instrument in Bolivia called the charango, in which Americans could recognize as a mandolin-like instrument, yet with 12 strings instead of the 8 on the bluegrass instrument. The political and psychological aspects of this instrument is quite extraordinary in Bolivia, where we can recognize that the charango is a native instrument to the Ande mountains, in which stretch into the Eastern border of Bolivia from the seaboard of Peru (to Bolivia’s east). While natively the charango belongs to the Andes, the countries bred around them and Bolivia, there is no political stake in current musical promotion in which defines who the charango belongs to – the elite or the indigenous. While the chances are that most Bolivian children, no matter their background or regional location are familiar with the charango in local music, and apart of their culture. But being it so, we see that charango is both made famous by rich classical musicians that stand as a prospect of the elite political movements, but we also know Bolivian festivals, indigenous dressed snarks and warriors, and Bolivian natives dressed in costumes have traditionally embraced the charango as a means to express traditional folk music (Charango Bolivia, 2013; Sammells, 2013). We can recognize that the charango is not a boundary, but perhaps the hands in which the charango is in is. Perhaps, how the people think of the charango, and who’s hands the

11. GLOBAL MUSIC IN MODERN PSYCHOLOGY 11 charango is in, and what their political beliefs are about certain types of music, would be based upon their idealization of being native and based upon their inheritance from the region, or from being a part of the elite urbanization of the country as apart of the ever intruding globalization (Stobart, 2010). We could see the overlap where children of indigenous or native descent, could depreciate the charango in the hands of wealthy musicians, and assimilate the charango as a symbol of nativeness and something that has been lost or plundered due to globalization, and the local economic battles of immigration and settlement. We can presume this position because the charango is not known much in the American music scenes, and the charango is both marketed in Bolivia as a native instrument, as well as the music made with the charango is utilized by wealthy, classical musicians from Bolivia in the global-classical music scene. This is an interesting, and ever-fueled rivalry in Bolivia, of who is playing the charango, and what it means of being a native instrument and inheritance of the native people and culture or being a gem of the invasion and globalization of Bolivia (Charango Bolivia, 2019). There seems to be less mystery than congruency when we talk about the psychology of global music. We are called to what comforts our effort, and we are called to the beats, tempos and rhythms that decorate our spirits and give us a hope in new perspective. If we cannot find festive sounds in our life, when ear them, we are thrown into the distance we once held. We may love the music that surrounds us as a domain of our comfort zone, we recognize movements in our life by the music that was played, and we have emotional connections to the sounds and contexts of the music we have heard before. If we are exposed to music that speaks to us emotionally or otherwise – we are caught among the medicine, revelation, dynamism, nature, and congregations of the biological sciences. Our thoughts are thesis to the music we listen to.

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