Comparação dos Potenciais de Latência Média com ou sem estímulo musical

Os Potenciais Auditivos Evocados (PEA) constituem uma fonte rica e complexa de informações sobre as vias do sistema nervoso central e de estruturas ativadas por estimulação auditiva. Devido ao escasso número de trabalhos existentes correlacionando Resposta de Latência Média com diferentes estímulos sonoros, surgiu o interesse em se realizar esse estudo. OBJETIVO: Verificar o Potencial Evocado Auditivo de Média Latência (PEAML) em adultos normo-ouvintes frente à estimulação por clique e com música contralateral. FORMA DE ESTUDO: coorte contemporânea com corte transversal. MÉTODO: Foram realizadas as avaliações de PEAML em 10 sujeitos utilizando cliques na intensidade de 70dBnNA bilateralmente e posteriormente com estímulo musical, sendo que as latências e amplitudes foram medidas. Foi realizada a comparação da amplitude da onda Pa em relação ao eletrodo C3 e C4 e em relação à orelha direita e esquerda na presença e ausência de estímulo musical. RESULTADOS: todos os sujeitos apresentaram PEAML dentro dos limites de normalidade em ambas as orelhas e na avaliação com estímulo musical e clique foi observada uma diminuição das amplitudes na orelha contralateral a apresentação do estímulo musical em todas as posições do eletrodo, embora esta diferença não tenha sido estatisticamente significante. CONCLUSÃO: Sugere-se que o estímulo musical influencia na amplitude do PEAML, uma vez que houve diminuição da amplitude da onda Pa frente a esta estimulação.

Preferência musical e risco de suicídio entre jovens

OBJETIVOS: Considerando-se que vários estudos internacionais indicam que a preferência musical, especialmente pelo heavy metal, correlaciona-se ao suicídio, objetivou-se na presente pesquisa conhecer as relações entre preferência musical e risco de suicídio. MÉTODOS: Participaram 200 estudantes universitários de diversos cursos de uma universidade pública da cidade de João Pessoa, PB, com idade média de 22 anos (DP = 4,77). Estes responderam à Escala Abreviada de Preferência Musical, que visa mensurar a preferência musical com relação a 14 gêneros musicais, e o Inventário de Razões para Viver (RFL), que objetiva aferir as razões que as pessoas têm para viver. RESULTADOS: De acordo com os resultados, verificaram-se correlações entre a pontuação total da RFL e os gêneros musicais convencional (positiva) e alternativo (negativa). Pôde-se ainda verificar que a preferência musical pelo estilo convencional foi um preditor de menor risco de suicídio entre jovens. CONCLUSÕES: Esta pesquisa demonstra a importância de mais uma variável, no caso a preferência musical, para entender o risco de suicídio entre jovens. Mas outros estudos devem ser realizados no contexto brasileiro para que se possa entender melhor essa relação.

Ecology of mosquitoes (Diptera: Culicidae) in areas of Serra do Mar State Park, State of São Paulo, Brazil. III - daily biting rhythms and lunar cycle influence

The ecology of mosquito species (Diptera: Culicidae) was studied in areas of the Serra do Mar State Park, State of São Paulo, Brazil. The influence of the lunar cycle and the daily biting rhythms of mosquito populations were analyzed. Systematized biweekly human bait collections were made in a silvatic environment for 24 consecutive months (January 1991 to December 1992). A total of 20,591 specimens of adult mosquitoes belonging to 55 species were collected from 545 catches. Sabethini species were captured exclusively during daylight periods, with the exception of Trichoprosopon digitatum, while members of Anophelinae predominated during nocturnal hours. Members of the subfamily Culicinae that were collected primary during nocturnal periods included Culex nigripalpus, Coquillettidia chrysonotum and Cq. venezuelensis while daytime catches included Psorophora ferox and Ps. albipes. Others members of culicines mosquitoes that were collected during both day and night included: Aedes serratus, Ae. scapularis and Ae. fulvus. Lunar cycles did not appear to influence the daily biting rhythms of most mosquito species in the area, but larger numbers of mosquitoes were collected during the new moon. Ae. scapularis were captured mainly during the full moon.

Circadian rhythms in insect disease vectors

Organisms from bacteria to humans have evolved under predictable daily environmental cycles owing to the Earth’s rotation. This strong selection pressure has generated endogenous circadian clocks that regulate many aspects of behaviour, physiology and metabolism, anticipating and synchronising internal time-keeping to changes in the cyclical environment. In haematophagous insect vectors the circadian clock coordinates feeding activity, which is important for the dynamics of pathogen transmission. We have recently witnessed a substantial advance in molecular studies of circadian clocks in insect vector species that has consolidated behavioural data collected over many years, which provided insights into the regulation of the clock in the wild. Next generation sequencing technologies will facilitate the study of vector genomes/transcriptomes both among and within species and illuminate some of the species-specific patterns of adaptive circadian phenotypes that are observed in the field and in the laboratory. In this review we will explore these recent findings and attempt to identify potential areas for further investigation.

Biological rhythms and vector insects

The adjustment of all species, animals and plants, to the Earth’s cyclic environments is ensured by their temporal organisation. The relationships between parasites, vectors and hosts rely greatly upon the synchronisation of their biological rhythms, especially circadian rhythms. In this short note, parasitic infections by Protozoa and by microfilariae have been chosen as examples of the dependence of successful transmission mechanisms on temporal components.

Circadian rhythms in blood pressure in free-ranging three-toed sloths (Bradypus variegatus)

Blood pressure (BP) profiles were monitored in nine free-ranging sloths (Bradypus variegatus) by coupling one common carotid artery to a BP telemetry transmitter. Animals moved freely in an isolated and temperature-controlled room (24ºC) with 12/12-h artificial light-dark cycles and behaviors were observed during resting, eating and moving. Systolic (SBP) and diastolic (DBP) blood pressures were sampled for 1 min every 15 min for 24 h. BP rhythm over 24 h was analyzed by the cosinor method and the mesor, amplitude, acrophase and percent rhythm were calculated. A total of 764 measurements were made in the light cycle and 721 in the dark cycle. Twenty-four-hour values (mean ± SD) were obtained for SBP (121 ± 22 mmHg), DBP (86 ± 17 mmHg), mean BP (MBP, 98 ± 18 mmHg) and heart rate (73 ± 16 bpm). The SBP, DBP and MBP were significantly higher (unpaired Student t-test) during the light period (125 ± 21, 88 ± 15 and 100 ± 17 mmHg, respectively) than during the dark period (120 ± 21, 85 ± 17 and 97 ± 17 mmHg, respectively) and the acrophase occurred between 16:00 and 17:45 h. This circadian variation is similar to that observed in cats, dogs and marmosets. The BP decreased during "behavioral sleep" (MBP down from 110 ± 19 to 90 ± 19 mmHg at 21:00 to 8:00 h). Both feeding and moving induced an increase in MBP (96 ± 17 to 119 ± 17 mmHg at 17:00 h and 97 ± 19 to 105 ± 12 mmHg at 15:00 h, respectively). The results show that conscious sloths present biphasic circadian fluctuations in BP levels, which are higher during the light period and are mainly synchronized with feeding.

Manipulating Greek musical modes and tempo affects perceived musical emotion in musicians and nonmusicians

The combined influence of tempo and mode on emotional responses to music was studied by crossing 7 changes in mode with 3 changes in tempo. Twenty-four musicians aged 19 to 25 years (12 males and 12 females) and 24 nonmusicians aged 17 to 25 years (12 males and 12 females) were required to perform two tasks: 1) listening to different musical excerpts, and 2) associating an emotion to them such as happiness, serenity, fear, anger, or sadness. ANOVA showed that increasing the tempo strongly affected the arousal (F(2,116) = 268.62, mean square error (MSE) = 0.6676, P < 0.001) and, to a lesser extent, the valence of emotional responses (F(6,348) = 8.71, MSE = 0.6196, P < 0.001). Changes in modes modulated the affective valence of the perceived emotions (F(6,348) = 4.24, MSE = 0.6764, P < 0.001). Some interactive effects were found between tempo and mode (F (1,58) = 115.6, MSE = 0.6428, P < 0.001), but, in most cases, the two parameters had additive effects. This finding demonstrates that small changes in the pitch structures of modes modulate the emotions associated with the pieces, confirming the cognitive foundation of emotional responses to music.

Schelling e a constituição da estética musical

O presente artigo conta investigar o processo de constituição da estética musical a partir da teoria da arte elaborada por F. W. J. von Schelling. Para tanto, espera-se mostrar a maneira pela qual o filósofo alemão procura redimensionar as bases que davam sustentação à chamada estética sistemática para, a partir de uma ponderação extremamente inovadora, caracterizar a música como um objeto original de saber.

From transcendental to practical intersubjectivity: a social psychological approach to Kant's musical aesthetics

It is well known that Kant’s aesthetics is framed intersubjectively because he upholds the claim of taste to universality. However, the transcendental foundation of this shared universality is a supersensible ground which is taken for granted but which cannot be brought directly into communicative experience. Kant’s reliance on the synthetic a priori structure of aesthetic judgment also removes it from the sphere of observable personal interaction. This argumentative strategy exposes it to skeptical challenge and generates inaccessible references to inner representations (be they intuitions, categories of the understanding or rational ideas). It is not sufficient, as Kant did, to propose a description of aesthetic experience that is subjectively plausible and thereby claim its intersubjective validity. It is indispensable to embody intersubjectivity in behavior and language. In practical intersubjectivity, aesthetic attitudes are dealt with in a concrete and accessible manner without relying on mentalistic assumptions as a foundation. Conceptual terms such as 'agreeable’, 'beauty’, 'sublime’, 'ugly’, 'universality’ acquire new meaning in a conversational context and aesthetic claims are tested in a dialogical game semantics model.

Filosofia, tom e ilusão musical em Kant: da vivificação sonora do ânimo à recepção do tom da razão

O artigo tenciona, primeiramente, enriquecer o estudo da função que o conceito de tom desempenha na ideia kantiana de razão, ao estendê-lo à análise da música como arte dos sons que a Crítica do Juízo contém. Em segundo lugar, propõe-se determinar os motivos pelos quais a matemática se revela incapaz, devido à especificidade do método filosófico e à corporalidade da recepção musical, respectivamente, de expressar o modo de proceder da razão e da arte dos sons. Finalmente, aponta-se para uma semelhança entre música e razão, no que diz respeito à rejeição que compartilham da queda na Schwärmerei, apesar da distância que se estabelece entre ambas enquanto duas maneiras contrárias de exercitar e fomentar a vida e o sentimento dela.