基于数字音频技术设计的便携式音乐电疗仪

背景：将音乐疗法与传统医学的电刺激疗法相结合产生的音乐电疗法,将成为一种新型康复技术而广受关注。 目的：介绍一种基于数字音频技术的便携式音乐治疗仪。 方法：治疗仪采用C8051F340及MP3模块开发而成,能够提供音乐刺激电流和音频信号输出,在治疗之前与治疗的过程中利用音乐营造一种舒适的“治疗环境”。 结果与结论：便携式音乐治疗仪人机交互能力强,使治疗成为一种享受,而提高了电刺激的治疗效果。     

脉冲激光与电刺激治疗系统音频信号处理模块的研制

目的：设计一款基于TMS320VC5402DSP的音频信号处理模块,用于采集处理多模式脉冲激光与电刺激治疗系统的音乐信号,探讨不同频率成分的音频信号对治疗高血压的影响,实现多模式脉冲激光与电刺激治疗高血压治疗处方的多样化。方法：使用音频编解码芯片TLV320AIC23B实现对多模式脉冲激光与电刺激治疗系统的音乐信号的采集,利用高性能数字信号处理芯片TMS320VC5402对采集的信号进行相应的信号分析与处理。通过数字信号处理技术得到新的治疗处方应用于多模式脉冲激光与电刺激治疗系统,用于探讨不同频率成分的音频信号对治疗高血压的影响。结果：设计的硬件平台稳定可靠．可实时采集音频信号,可用于寻找对高血压治疗的有效频率成分。结论：该设计可实时采集音频信号,并运用各种信号处理的手段,产生不同的高血压治疗处方,为寻找有效治疗高血压的音频频率成分提供了可靠稳定的硬件平台。     

经皮电刺激治疗阻塞性睡眠呼吸暂停综合征的研究

目的：采用经皮无创的双向电流脉冲刺激舌下颏舌肌，研究这种方法作为治疗阻塞性睡眠呼吸暂停综合征的可能性和适用性。方法：采用PSG同步监测，根据患者不同的情况，分析给出最佳的电刺激参数，当发生睡眠呼吸暂停时及时给予适当的电刺激信号，以颏舌肌为主的上气道扩张肌使舌体向前运动，扩大舌咽气道，从而降低上气道阻力，改善夜间低氧血症，使睡眠结构得以改善，达到治疗目的。结果：对22名阻塞性睡眠呼吸暂停综合征患者给予经皮无创电刺激舌下神经分支，经治疗后显效17名，好转2名，无效3名，有效率77．27％。结论：这是一种非手术的、有临床价值的、低费用的治疗阻塞性睡眠呼吸暂停综合征的方法。     

变参数混沌信号应用于经皮神经电刺激的探索研究

为了降低人体适应性对电刺激效果的影响,介绍了一种基于混沌信号的电刺激系统设计方法。首先在PC机上采用MATLAB软件构建混沌模型,经迭代运算产生混沌信号。用NI公司的数据采集卡USB-6251将信号输出到外部设备,再用LM3886模块对信号进行功率放大。经粘贴或绑缚在人体皮肤上的电极,传入信号以刺激内部神经。通过改变混沌模型的参数可获得不同的刺激效果,从而降低了因生理电刺激适应性而导致的电刺激效果变差的影响。测试结果表明:混沌信号的随机性增加了电刺激波形的多样性;混沌信号的规则性保证了电刺激过程的舒适感,提出的方法为电刺激仪器的设计提供了一个新的方向。     

连续经颅磁刺激睡眠仪系统的设计

目的为了寻求合适的经颅磁刺激模式治疗失眠等神经系统类的疾病,设计出一种新型的连续经颅磁刺激系统。方法采用PC和单片机交互控制,改进后级TDA7294功放电路,实现0.001Hz～20.000kHz的连续大功率输出驱动线圈产生交变磁场。结果实现了将真实睡眠脑电信号、音乐信号及几种典型波形的刺激信号转换成空间交变磁场直接耦合进大脑的睡眠中枢,同时对圆形线圈在真实头模型下的磁场和感应电流分布进行了有限元仿真。结论系统达到了预定指标,为进一步临床研究提供了可靠的实验平台。     

多模式音频脉冲信号光电穴位刺激对高血压大鼠血液流变性及血压的影响

本文主要研究多模式音频脉冲信号光、电穴位刺激对自发性高血压大鼠血液流变性及血压的影响,以探索延缓血压升高的方法。雄性自发性高血压大鼠40只随机分为A组(对照组)、B组(电刺激"足三里"穴)、C组(脉冲激光照射耳尖穴)、D组(耳尖穴行激光照射兼对"足三里"行电刺激),每组10只。每天激光照射时间为45min,电刺激时间为30min,连续治疗10d,比较大鼠血液流变学参数及血压的变化情况。结果显示:C、D组全血黏度、血浆黏度及红细胞变形指数较对照组均有改善,D组全血黏度及血浆黏度值最小;B、D组血压在治疗后有不同程度的降低,D组血压下降幅度较明显,A、C组血压有不同程度的上升,但C组上升幅度明显小于A组。综上,脉冲式的光、电刺激信号同时作用于自发性高血压大鼠的不同穴位,对改善血液流变特性及非药物辅助治疗高血压有较为明显的治疗效果。     

头部穴位留针治疗中风后抑郁的临床疗效分析

目的：观察头部穴位留针刺激对中风后抑郁症的治疗作用。方法70例中风后抑郁症患者随机分成治疗组和对照组，每组35例，均接受内科常规治疗和肢体针刺治疗，治疗组患者加用头部穴位留针刺激，疗程共3 w；分别对两组疗效、治疗前后HAMD抑郁量表评分、匹兹堡睡眠质量指数(孕杂匝陨)进行分析。结果两组抑郁状态均有改善，治疗组优于对照组；且治疗组HAMD抑郁量表评分减分程度明显高于对照组(<0.01)；匹兹堡睡眠质量指数得分明显减少。结论头部穴位留针刺激对中风后抑郁症有明显的治疗作用，疗效体现在改善症状及睡眠的调节上。     

基于2^n伪随机复合频率信号的神经肌肉电刺激系统设计

目的：每一块肌肉都是由众多肌纤维组成,每一组肌纤维的固有频率不同,在对肌肉进行电刺激时,使用单一频率的电刺激不能满足同时对多组肌纤维进行刺激,不能达到最有效的电刺激作用,因此我们设计了一种基于伪随机信号的复合频率电刺激仪,能在一个刺激周期内实现多个频率的电刺激。方法：设计了一个以STC12C5410AD单片机为核心控制芯片的伪随机信号神经肌肉电刺激仪系统,采用串口实现上下位机的通讯,通过软件编程,上位机发送主频数、主频频率、间歇时间和刺激时间各项参数指令,由单片机控制输出两路伪随机脉冲信号,并通过逆变电路实现伪随机信号的输出,在逆变电路中加入电流监测电阻,实时监测输出信号的电流大小,将其控制在人体安全电流10mA以下,保证了用户的使用安全。结果：研制出的电刺激仪能产生1kHz以下多种主频信号的复合,根据主频数和主频频率的不同输出不同的复合频率信号,同时对输出电流的检测,验证了信号的安全性。结论：本文将伪随机复合频率信号运用于肌肉电刺激仪中,取代传统的单一频率电刺激仪,实现了技术上和理论上的创新,具有较高的临床实验和科研价值。     

无创经皮电刺激仪治疗OSAS的实验研究和临床疗效

研究采用经皮双向电流脉冲刺激舌下颏舌肌作为治疗阻塞性睡眠呼吸暂停综合征(O bstructive sleepapnea syndrom e,O SA S)的一种新方法。采用多导睡眠图同步监测患者,当发生睡眠呼吸暂停时及时给予最佳参数的电刺激,使得以颏舌肌为主的上气道扩张肌促使舌体向前运动,扩大舌咽气道,降低上气道阻力,改善夜间低氧血症,改善睡眠结构。临床疗效结果表明,22名O SA S患者经我们治疗后显效17名,好转2名,无效3名,有效率77.27%。初步证明这是一种的治疗O SA S的新方法。     

带状疱疹后眼神经痛患者周围神经电刺激植入术治疗的疗效分析

目的:探讨带状疱疹后眼神经痛患者周围神经电刺激植入术治疗的疗效.方法:回顾性分析2019年3月-2021年3月在本院接受治疗的98例带状疱疹后眼神经痛患者,根据治疗方式的不同将98例带状疱疹后眼神经痛患者分为观察组(n=50)和对照组(n=48),对照组采用脊髓电刺激植入术治疗,观察组采用周围神经电刺激植入术治疗.于治疗前、治疗后,抽取患者的空腹静脉血,检测患者的血清超氧化物歧化酶(SOD)、一氧化氮(NO)和皮质醇(Cor);采用疼痛视觉模拟评分表(VAS)、匹兹堡睡眠质量指数量表(PSQI)、焦虑量表(SAS)和抑郁量表(SDS)对两组带状疱疹后眼神经痛患者进行评分,评估两组患者的临床疗效,记录不良反应发生情况.结果:观察组患者的总有效率为94.00％,与对照组81.25％比较无明显差异(P>0.05).治疗后,治疗后,观察组患者的SOD水平高于对照组,NO、Cor水平低于对照组.观察组患者的VAS、PSQI、SAS和SDS评分均较对照组低,差异显著(P<0.05).观察组患者并发症总发生率为4.00％,与对照组8.33％比较无明显差异(P>0.05).结论:周围神经电刺激植入术治疗带状疱疹后眼神经痛可改善氧化应激反应状态,减少患者的疼痛感,提高睡眠质量,降低患者发生焦虑和抑郁的情况.     

Using music as a signal for biofeedback

Studies on the potential benefits of conveying biofeedback stimulus using a musical signal have appeared in recent years with the intent of harnessing the strong effects that music listening may have on subjects. While results are encouraging, the fundamental question has yet to be addressed, of how combined music and biofeedback compares to the already established use of either of these elements separately. This experiment, involving young adults (N = 24), compared the effectiveness at modulating participants' states of physiological arousal of each of the following conditions: A) listening to pre-recorded music, B) sonification biofeedback of the heart rate, and C) an algorithmically modulated musical feedback signal conveying the subject's heart rate. Our hypothesis was that each of the conditions (A), (B) and (C) would differ from the other two in the extent to which it enables participants to increase and decrease their state of physiological arousal, with (C) being more effective than (B), and both more than (A). Several physiological measures and qualitative responses were recorded and analyzed. Results show that using musical biofeedback allowed participants to modulate their state of physiological arousal at least equally well as sonification biofeedback, and much better than just listening to music, as reflected in their heart rate measurements, controlling for respiration-rate. Our findings indicate that the known effects of music in modulating arousal can therefore be beneficially harnessed when designing a biofeedback protocol.     

Lack of efficacy of music to improve sleep: a polysomnographic and quantitative EEG analysis.

An increasing number of studies have been examining non-pharmacological methods to improve the quality of sleep, including the use of music and other types of auditory stimulation. While many of these studies have found significant results, they suffer from a combination of subjective self-report measures as the primary outcome, a lack of proper controls, often combine music with some type of relaxation therapy, or do not randomise subjects to control and treatment conditions. It is therefore difficult to assess the efficacy of music to induce or improve sleep. The present study therefore examined the effects of music using standard polysomnographic measures and quantitative analysis of the electroencephalogram, along with subjective ratings of sleep quality. In addition, a tones condition was used to compare any effects of music with the effects of general auditory stimulation. Using a counter-balanced within-subjects design, the music was not significantly better than the tones or control conditions in improving sleep onset latency, sleep efficiency, wake time after sleep onset, or percent slow wave sleep, as determined by objective physiological criteria.     

Judgement of mood in music following right hemisphere damage.

Evidence on hemispheric specialization has implicated the right hemisphere as having a special role in the mediation of emotion. Since music is an area in which both cognitive and affective aspects of perception can be assessed, the aim of this study was to investigate the effect of right hemisphere damage on perception of emotional meaning or mood in music. An initial pilot study was conducted to select music on which normal subjects were consistent in their judgement of musical mood. The musical stimuli consisted of extracts of classical piano music. The technique used as a measure of musical mood was the Semantic Differential. Tracks of music and adjectival scales were selected for the experimental study in which 15 right hemisphere lesioned patients and normal controls were compared in their response to music. The right hemisphere group demonstrated a characteristic response in their judgement of mood in music. The results are discussed in terms of the role of pitch in judgement of mood in music and in terms of the relationship between music and language.     

Musical training modulates the early but not the late stage of rhythmic syntactic processing

Syntactic processing is essential for musical understanding. Although the processing of harmonic syntax has been well studied, very little is known about the neural mechanisms underlying rhythmic syntactic processing. The present study investigated the neural processing of rhythmic syntax and whether and to what extent long‐term musical training impacts such processing. Fourteen musicians and 14 nonmusicians listened to syntactic‐regular or syntactic‐irregular rhythmic sequences and judged the completeness of these sequences. Nonmusicians, as well as musicians, showed a P600 effect to syntactic‐irregular endings, indicating that musical exposure and perceptual learning of music are sufficient to enable nonmusicians to process rhythmic syntax at the late stage. However, musicians, but not nonmusicians, also exhibited an early right anterior negativity (ERAN) response to syntactic‐irregular endings, which suggests that musical training only modulates the early but not the late stage of rhythmic syntactic processing. These findings revealed for the first time the neural mechanisms underlying the processing of rhythmic syntax in music, which has important implications for theories of hierarchically organized music cognition and comparative studies of syntactic processing in music and language.     

Music-induced context preference following cocaine conditioning in rats

Traditional models of drug-seeking behavior have shown that exposure to associated environmental cues can trigger relapse. These learned associations take place during repeated drug administration, resulting in conditioned reinforcement. Although considerable investigation has occurred regarding simple conditioned stimuli, less is known about complex environmental cues, particularly those that may be salient in human addiction. Recent studies indicate that music can serve as a contextual conditioned stimulus in rats and influence drug-seeking behavior during abstinence. The purpose of the present study was to further assess the effectiveness of music as a conditioned stimulus in rats, to determine rats' preferences for two contrasting pieces of music, and to determine rats' preferences for music versus silence. To this end, we created an apparatus that gave instrumental control of musical choice (Miles Davis vs. Beethoven) to the rats themselves. After determining baseline musical preference, animals were conditioned with cocaine (10 mg/kg) to the music they initially preferred least, with alternating conditioning sessions pairing saline with the music preferred most. The animals were subsequently tested in a drug-free state to determine what effect this conditioning had on musical preference. The results indicate that music serves as an effective contextual conditioned stimulus, significantly increasing both musical preference and locomotor activity after repeated cocaine conditioning. Furthermore, we found that rats initially favor silence over music, but that this preference can be altered as a result of cocaine-paired conditioning. These findings demonstrate that, after repeated association with reward (cocaine), music can engender a conditioned context preference in rats; these findings are consistent with other evidence showing that musical contextual cues can reinstate drug-seeking behavior in rats.     

Comparison of the specificity of musically cued autobiographical memories

This paper compared the specificity of recollections of autobiographical memories where musical cues for events were varied. We used music which was popular in the past as cues which were related to a larger number of past individual events (frequent events cues) and music which was typically only sung at graduation ceremonies as cues which were related to a smaller number of events (rare events cues). In the instructed retrieval condition, participants were told to listen to the music and to recall past events, whereas in incidental retrieval condition, the instruction was only to listen to the music. Then participants were asked to describe what they recalled while hearing the music. When frequent events musical cues were played, the specificities of the recalled events were higher in the instructed retrieval condition than in the incidental retrieval condition. In contrast, when rare events musical cues were played, there were no differences in the specificities of the recalled events.     

Recent trends in the psychology of music perception: the perceptual processes of melody and musical pitch

In this article some of the recent researches on music perception are reviewed, with a special emphasis upon those that concern melody organization and musical pitch. Lerdahl and Jackendoff (1983) pointed out that there is a grammatical parallel between music and language, and presented some grammatical rules for the tonal music. Serafine (1983) cautioned us not to confuse the "style principles" with the "musical cognitive process". The recent experiments on musical pitch and melody has reinforced the psychological validity of musical segmentation, tonality, pitch chroma, scale, and key. Theoretical approaches to the relations in the scale systems gave the possibility of a "new scale system" for use in psychological experiments, while the recent pitch models has made it possible for us to control tonality and to generate tones never used before in playing music. The need for a greater cross-stylistic generality of psychological concepts in music and the farther clarification of the "musical cognitive process" through experiments utilizing the "new scale system" and the "new tones" are indicated.     

Performing music can induce greater modulation of emotion-related psychophysiological responses than listening to music

The present study investigated the differential effects of music-induced emotion on heart rate (HR) and its variability (HRV) while playing music on the piano and listening to a recording of the same piece of music. Sixteen pianists were monitored during tasks involving emotional piano performance, non-emotional piano performance, emotional perception, and non-emotional perception. It was found that emotional induction during both perception and performance modulated HR and HRV, and that such modulations were significantly greater during musical performance than during perception. The results confirmed that musical performance was far more effective in modulating emotion-related autonomic nerve activity than musical perception in musicians. The findings suggest the presence of a neural network of reward-emotion-associated autonomic nerve activity for musical performance that is independent of a neural network for musical perception.     

Music, language and meaning: brain signatures of semantic processing

Semantics is a key feature of language, but whether or not music can activate brain mechanisms related to the processing of semantic meaning is not known. We compared processing of semantic meaning in language and music, investigating the semantic priming effect as indexed by behavioral measures and by the N400 component of the event-related brain potential (ERP) measured by electroencephalography (EEG). Human subjects were presented visually with target words after hearing either a spoken sentence or a musical excerpt. Target words that were semantically unrelated to prime sentences elicited a larger N400 than did target words that were preceded by semantically related sentences. In addition, target words that were preceded by semantically unrelated musical primes showed a similar N400 effect, as compared to target words preceded by related musical primes. The N400 priming effect did not differ between language and music with respect to time course, strength or neural generators. Our results indicate that both music and language can prime the meaning of a word, and that music can, as language, determine physiological indices of semantic processing.     

Music-induced mood modulates the strength of emotional negativity bias: an ERP study

The present study investigated the effect of music-elicited moods on the subsequent affective processing through a music-primed valence categorization task. Event-related potentials were recorded for positive and negative emotional pictures that were primed by happy or sad music excerpts. The reaction time data revealed longer reaction times (RTs) for pictures following negative versus positive music pieces, irrespective of the valence of the picture. Additionally, positive pictures elicited faster response latencies than negative pictures, irrespective of the valence of the musical prime. Moreover, the main effect of picture valence, and the music by picture valence interaction effect were both significant for P2 amplitudes and for the averaged amplitudes at 500-700ms interval. Negative pictures elicited smaller P2 amplitudes than positive pictures, and the amplitude differences between negative and positive pictures were larger with negative musical primes than with positive musical primes. Similarly, compared to positive pictures, negative pictures elicited more negative deflections during the 500-700ms interval across prime types. The amplitude differences between negative and positive pictures were again larger under negative versus positive music primes at this interval. Therefore, the present study observed a clear emotional negativity bias during either prime condition, and extended the previous findings by showing increased strength of the negative bias under negative mood primes. This suggests that the neural sensitivity of the brain to negative stimuli varies with individuals' mood states, and this bias is particularly intensified by negative mood states.