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Connected

Get your music on
with Bill Protzmann
Audiences experience firsthand that intentionally
listening to music they relate to helps speed recovery
from war-related post-traumatic stress injury.
Connected
Table of Contents
OVERVIEW 3 WHO, WHY, WHAT AND HOW 3 CONNECTED: THE BRIEF PITCH WHY CONNECTED? WHAT IS CONNECTED? HOW DOES CONNECTED WORK? A SAMPLE CONNECTED PROGRAMME 3 3 4 4 7 INFORMATION FOR SPONSORS 8 IS CONNECTED COST-EFFECTIVE? ADVERTISING AND MARKETING COSTS PRODUCTION COSTS OTHER COSTS HIGH-‐LEVEL COST COMPARISONS A FINAL WORD ON COSTS HOW CAN I (OR MY ORGANIZATION) GET INVOLVED? SUMMARY TABLE OF COSTS 8 8 9 9 10 10 11 12 MEETING PLANNER NOTES 13 PIANO AND EQUIPMENT VOCAL MICROPHONE PIANO MICROPHONE USHERS AUDIENCE TAKE-AWAYS LEAD TIME AGENT AND PRESS CONTACT OTHER USEFUL INFORMATION CONDENSED BIO SUGGESTED INTRODUCTION: MUSICAL PERFORMANCE RECENT TESTIMONIALS 13 13 13 13 13 14 14 14 14 14 15 RESOURCES: FINDINGS THAT SUPPORT CONNECTED 1 BOOKS INTERNET SCIENTIFIC PAPERS 1 1 1 Feb 16 2010
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Connected
Who, Why, What and How
Overview
The purpose of this document is to explain, position and market Connected. If
you are a potential sponsor, event planner, or simply interested in Connected, it
will be most useful to read the "Who, Why, What and How" section first, then
skip to the most relevant portion for your specific needs.
Who, Why, What and How
This section describes the background for the creation of Connected, its timely
relevance, and why it works.
Connected: The Brief Pitch
Connected is 90 entertaining and powerful musical moments that unleash and
direct the beneficial energy of emotions while teaching people how to do this for
themselves. If you or someone close to you is experiencing post-traumatic stress
disorder (PTSD), then you are part of the target audience for Connected.
Why Connected?
Connected is an approach to feeling joyful and productive, or just plain better,
and it does not require psychiatry, drugs or medical doctors. Using music,
Connected awakens affirmative emotion; using entertainment, Connected
teaches audiences how to re-create this awakening for themselves; through the
shared experience of participating, Connected enlightens audience members
about their own power to lessen pain, anxiety, and stress, improve attention,
memory, and performance, lower blood pressure, and improve sleep. (Please see
the Resources section for research citations on these statements of fact.)
Now more than ever, the world needs Connected. PTSD or, as it is becoming
increasingly known in military circles, combat-related “post-traumatic stress
injury" or "PTSI," is a well-documented issue for which people are desperate to
provide adequate and effective treatment. Quite simply, there aren't enough
therapists and healers to serve those who already seek care for PTSI, and the
potential population of those who will need care is many times larger. More
importantly, while the physical well-being of an active-duty warrior or a combat
veteran is of the highest priority, that same person is likely not to be, by his or
her very nature, the type of individual that seeks counseling or treatment for
PTSI or other mental and emotional issues. In severe cases, active-duty soldiers
and veterans are simply and tragically unable to function in "normal" society.
They can also become chronically unemployed, homeless and/or suicidal.
Connected is one way we can help do something that is simple, cost-effective,
and immensely advantageous for those who are serving or have served in the
armed forces: because Connected uses music to re-awaken beneficial emotions
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Connected
Who, Why, What and How
and teach participants how to repeat this process for themselves, anyone with
access to a source of music has the tools to begin -- or enhance -- his or her
own care.
What is Connected?
Unlike formal "music therapy," Connected is entertainment that teaches
"intentional listening." A substantial segment of Connected's potential audience is
comprised of active-duty and veteran warriors who, for a variety of reasons,
have not sought out and/or do not participate in the available services for PTSI
treatment. Connected reaches through the barriers to seeking treatment by
sparking individual desire for change. How? By using entertainment to
demonstrate and teach the easy, beneficial emotional connection that results
from taking time to listen with intention to enjoyable music.
A participant in Connected experiences entertainment, but with a subtle purpose:
self-empowerment through guided awareness of his or her deepest emotions.
Simply put, the program appears visually to an audience as a formal stage, a
grand piano, and Bill Protzmann, who for 90 minutes provides the participants
with a guided musical tour through their own emotions, from fun to funky, silly
to sad, raucous to melancholy, deep, shallow, poignant and triumphant. The
audience participates in a refreshing, new, politically correct way – a way that
has been sadly absent from most passive entertainment or traditional
“motivational” programs. All participants are given take-away tools to remind
them of their experience and further their self-empowerment.
How does Connected work?
Over more than 30 years of performing a variety of music and entertaining live
audiences, combined with his inquiry into and documentation of the physiological
and emotional ways listeners respond to music, Bill Protzmann has refined the
“guiding listening experience” into a near-therapeutic art that is a catharsis. The
program that today is known as Connected premiered as a one-man musical
revue called "For the Love of Music" in 1994. Today, the program is recognized
as much more than entertainment. In addition to the typical accolades, "For the
Love of Music" audience members often express their response as “healing,
soothing or comforting.” One retired CEO expressed it this way:
“At first, I wondered what [it] was all about; it seemed so
light-hearted and juvenile. But when Bill began to dig in to
the heavier music and explain how he himself has to really
go into those very dark places to make a convincing
performance for us, I recognized that I have some of those
same responses to the music I hear all the time, and that I
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Connected
Who, Why, What and How
can use music to get me through [the] dark times with
power rather than fear.”
Research by The HeartMath Institute, one of many scientific groups
making inquiries and documenting results in this area, supports and
explains what happens to participants in Connected:
“When we experience different emotions, the rhythmic
beating patterns of the heart change, and corresponding
changes occur in the structure of the heart’s radiating
electromagnetic field. Negative emotions give rise to erratic
and disordered patterns, which are called incoherent, and
positive emotions create coherence, or smooth and ordered
patterns. HeartMath researchers have found that sustained
positive emotions, such as love or appreciation, give rise to a
mode of functioning they call psycho-physiological
coherence, in which the physical body’s systems interact
efficiently and harmoniously and the psychological state is
characterized by emotional balance, reduced
perception of stress, and less internal mental
dialogue as well as enhanced mental clarity,
cognitive performance, and intuitive discernment
[emphasis added]. In other words, the psycho-physiological
coherence that positive emotions create enhances our
consciousness.”
(Please see the Resources section for further research.)
As with many programs, Connected does not reach every participant in the same
way. However, music is a universal presence in our world, and creating a
conscious, intentional awareness of how music influences us in helpful
physiological ways is empowering for those who choose to use this awareness to
their benefit. In both the military and the corporate environments, this has the
potential for turning every iPod™ (or other source of music) into a healing or
productivity tool; in mental and emotional health work, it can supercharge
therapy; where no work has yet been done, Connected can open the door of
awareness and create a desire to approach life in a new way.
Most importantly, Connected intentionally uses the scientific knowledge that
music -- sound -- directly impacts the release of chemicals in the brain and body
that can facilitate positive emotional and mental change. Further, it gives
participants hope to continue this positive change either on their own or through
a formalized therapeutic process. In short, Connected can not only create a
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Connected
Who, Why, What and How
physiological desire for change, but also promote and support that change in a
safe and health-affirming manner.
The bottom line? Physiologically, we cannot help but respond to sound.
Connected uses this phenomenon to consciously awaken a desire for, and speed
the process of, healing. At the same time, it teaches participants -- in an
enjoyable, entertaining and non-threatening way -- how to reproduce these
tremendous effects for themselves.
Two comments sum it up beautifully. First, from a divorced father, recovered
drug addict and fine art painter, who simply watched video of a Connected
performance:
"I loved your show, which you did as a house concert. The mix, the
relationships you set between the wide range of pop music from
Beethoven to the Eagles was a dynamic of the human heart which I
thought of as marching institutions, juxtaposed profanities,
presenting fire far and close which became real life when you
passed out the kazoos. That was f***ing great; better than that, it
was transcendental. [Bill is] an accomplished pianist but [he is] also
someone who can get upper middle class Americans, far more
comfortable with passive entertainment, a little confused and then
suddenly unbridle them. You may find my opinion of [the] audience
a little smug, but I am always looking for the meditation inherent in
the process of an artwork. I have given up my business, providing
ornament for the wealthy illiterate, because I have never found a
way to provide them with a kazoo."
And, from Deborah Meints, MFT, of Village Counseling in Palm Desert California,
an accomplished healer who for many years was married to a Vietnam veteran:
"A traumatic event freezes a moment and creates a blockage that
the mind rehearses unconsciously. We can believe that we are
stuck in this trauma. Music proves that we have a fluid intelligence
that dances with whatever is stored in the body. Music
instantaneously enters us with a power that embraces our entirety
and celebrates our connection to all we have experienced. Bill
Protzmann's performance provides both a celebration and an
honoring of this great healer, music."
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Connected
Who, Why, What and How
A sample Connected programme
Please feel free to copy and paste this sample Connected programme into
publicity materials. The presentation is 90 minutes long; there is no intermission.
Connected
the healing art of intentionally listening to music
with
Bill Protzmann
pianist and facilitator
Programme
Opening to amazement and grace
Love songs
A short musical biography: ragtime and Dvorak
Beethoven ... desperately
Mad World
The Three Tenors
The Well of Grief
Rachmaninoff
Rhapsody in Blue
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Connected
For Sponsors
Information for Sponsors
If you have been given the task of evaluating Connected for financial backing on
behalf of an organization, would like to consider sponsoring Connected, or have
an interest in the budget and logistics of the event itself, this section is for you.
Is Connected Cost-Effective?
It is essential to understand that Connected does not replace any existing
program or service that already provides treatment and care for PTSI. Connected
augments these programs and services by teaching participants how to use
music they enjoy to lessen pain, anxiety, and stress, improve attention, memory,
and performance, lower blood pressure and improve sleep. (Please see the
Resources section for research citations on these statements of fact.)
As stated in previous sections, Connected functions best as outreach: a vehicle
that connects people who are most in need with a desire to potentially seek care.
To re-state this for clarity: through entertainment, Connected literally “connects”
participants with their feelings -- their emotions -- in a way that is affirming and
satisfying, as it instructs participants how to repeat this process on their own.
As such, Connected becomes an ambassador for the programs and services your
organization -- or you individually -- already offer, creating a method to reach
potential recipients. How is this cost-effective? Perhaps a better question is What
is the cost of not reaching a deserving individual suffering with PTSI?
Following is a brief discussion of the real costs of presenting Connected. A table
summarizing this discussion is included at the end of the section.
Advertising and Marketing Costs
First, regarding getting the word out, Bill Protzmann recognizes that those in the
armed forces are unique in terms of their interconnectedness: military fighting
units are likely the most closely-knit and highly-functional task-oriented groups
anywhere. The chain of command virtually promises that reaching the leader of
such a group with valuable information will disseminate that information to the
whole group. This is word-of-mouth carried to its most efficient means. When
generals speak openly about PTSI and getting care, they are attempting to
influence the chain of command by breaking down resistance to care -- to reach
into the organizations they command with their own living example of how
getting care for PTSI can improve their life. More than advertising or marketing,
to reach this target audience, Connected needs excellent word-of-mouth which,
in military organizations, works quickly and is cost effective. Therefore, getting
the word out on Connected can work by using your organization's existing
connections with its members: once members experience Connected, it is natural
for them to encourage non-members to attend.
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Connected
For Sponsors
The suggestion is to take full advantage of the no-cost advertising and marketing
that have always produced results: positive word-of-mouth.
When you consider Connected as outreach, you may find it helpful to compare
the cost of your existing outreach programs to the cost of promoting Connected,
especially with Connected’s ability to reach significant numbers, including those
individuals not yet participating in programs or services. Success with Connected
helps ensure the success of your programs.
Production Costs
Second, the event itself is inexpensive to produce. From private homes to
ballrooms, the logistics of Connected are such that they require only that Bill
Protzmann meets your audience in suitably comfortable surroundings, with an
artist-quality grand piano and a professional public-address system. Many
facilities are already thus equipped; subject to audience size, most medium or
large hotels, churches, some public schools, and even designated residences can
provide an ideal setting for Connected, including proper stage lighting.
You might want us to define "artist-quality grand piano." As a performer, Bill
Protzmann is passionate about the requirement for a fine piano since it is the
musical "voice" of Connected. In the rare event that a venue doesn't have an
adequate piano (he can review this with a local piano tuner in a brief telephone
call), there are several nationwide services whose primary business is to deliver
and tune grand pianos for this purpose. You might be surprised to know that it is
easy and relatively inexpensive to arrange for an acceptable piano. (See
www.ProPiano.com for ideas.) Local piano dealers, and even companies as large
as Yamaha itself, have provided venues and/or pianos for Bill Protzmann at
greatly reduced rates or even gratis in exchange for recognition.
Other Costs
Audience take-away fliers or promotional materials are at your discretion. You
can reproduce the Resources pages from this document for your audience, but
they are also available at no cost online.
At his expense, Bill Protzmann provides each participant with a plastic kazoo
(yes: a kazoo), as well as guided instruction on its use and importance (both as a
musical tool with a predictable physiological effect and as a metaphor for further
individual intentional listening). No cost to you.
His honorarium for active-duty or veteran presentation is $2,500, or $50 per
participant up to 100 participants; for presentations over 100 participants or
corporate events, please contact Bill Protzmann’s agent, Diane Wagner; you’ll
find her contact information listed in the Meeting Planners section.
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Connected
For Sponsors
High-level cost comparisons
The budget for a single Connected event will depend mostly on the size of your
audience, so the more people, the better. Actual expenses are quoted on a caseby-case basis: Bill Protzmann’s travel to and lodging at your location, equipment
(sound and piano), and honorarium. Expenses for renting the venue itself, any
advertising beyond word-of-mouth, printed materials, and other incidentals are
entirely up to you. Although he operates as a for-profit corporation, there have
been some presentations of Connected for which he waives his honorarium; we
would be glad to discuss this with you individually.
For comparison, Bill Protzmann has staged Connected in private homes for 20-80
participants for little more than the cost of tuning the piano (usually around $150
or less) and a kazoo for everyone in attendance (they run approximately $0.20
per). Larger venues already with pianos can also be quite inexpensive: the
premiere of Connected took place in a church in the San Diego area which had
seating for 300 guests, a fine piano, lighting, and sound, all for less than $500, a
fair rate to rent a 300-seat church with piano, lighting, and sound system in the
Southern California area; costs in your area probably vary.
A final word on costs
It is estimated that 300,000 warriors returning from Iraq and Afghanistan will
need some form of psychological care due to war-related stress and trauma:
PTSI. The cost of this care could clearly be estimated many different ways, from
weeks or years of work with a clinical psychologist to just a few sessions with a
certified Thought-Field Therapist. If all 300,000 of these men and women were
willing to receive care, that would be ideal. However, statistically it’s certain that
many of them will never seek care. If Connected reaches some of these people
with proven tools ("intentional listening") they can at least begin to self-manage
their PTSI, and could, sooner rather than later, seek professional care. That's the
primary reason to make Connected available to soldiers, and the cost of doing so
is so low that it makes sense to put the program to work as soon as possible.
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Connected
For Sponsors
How can I (or my organization) get involved?
As a sponsor, there are two ways to bring Connected to your audience.
1. Fully finance an event or series of events as an independent producer with
both the desire and budget to "support the troops."
2. Partner with an existing non-profit or government organization that
already serves the active-duty or veteran communities to provide
additional funding for a Connected event or series of events.
Presenting Connected in a private home or including it as part of a corporate
educational/motivational event are two examples of option 1. Individuals or
organizations with existing resources for doing events of this type fit the profile
for this option. Connected works well as a corporate keynote presentation, since
music and "intentional listening" speed learning and retention. Connected also
functions effectively in a private home "salon" setting: envision an active-duty or
retired officer presenting it to his close friends.
Option 2, while it can be more involved, has great upside potential. For example,
if you are the public relations director of a business that wants publicity and to
be aligned with the cause of "supporting the troops," you could contact your
County Veterans Services Officer, the Veterans Administration, one of nationally
recognized non-profit organizations that provide services to active-duty warriors
and veterans, and collaborate to produce Connected in your community. In this
context, consider a series of Connected events, each one building on the wordof-mouth from the one before. The California-based independent public relations
firm, Next Wave PR, uses this kind of cause-related or grassroots socialmarketing model successfully on a local level in numerous ways; for more
information, contact www.NextWavePR.com to see how presenting Connected
could work for you.
In addition, Connected functions well as part of a fundraising event. Whether
your organization is interested in raising money to "support the troops," creating
awareness of existing or alternative services for treating PTSI, or is simply
searching for novel entertainment with lasting effects, Connected could offer the
juice you need.
Of course, there are many variations on these themes. Bill Protzmann will gladly
work with you or your meeting planner(s) to develop an approach that works
best for you; please review the next section for information and specifics on how
Connected could fit into your planning.
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Connected
For Sponsors
Summary Table of Costs
The following table summarizes responsibilities and costs for a typical production.
(Meeting Planners may also find this table useful as a checklist for pre-event
planning.) Below are sample costs for an all-inclusive 300-seat venue, such as
the church discussed above. Naturally, costs for other venues can vary widely.
Item
Responsible
Party
Sample Cost Number of
per
Guests
Kazoos
Bill Protzmann
$0.20
300
$60
Headset
Microphone
Bill Protzmann
Included
n/a
n/a
Total
Venue
Extended
Cost
$60
$500
300
$500
Sound System Sponsor
Included
n/a
n/a
Lighting
Sponsor
Included
n/a
n/a
Piano
Sponsor
Included
n/a
n/a
Piano Tuning
Sponsor
$150
n/a
$150
Ushers
Sponsor
Volunteer
n/a
n/a
Printed Takeaways
Sponsor
$0.01 (one
page black &
white)
300
$3.00
Honorarium
Sponsor
$5,000
300
$5,000
Total
Sponsor
$19
$5,653
Compared with the cost to communities and society of “losing” high-functioning,
capable individuals, Connected is a small, well-spent investment.
Feb 16 2010
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Connected
Meeting Planner Notes
Meeting Planner Notes
If you are an event or meeting planner who has the task of producing a
successful presentation of Connected, this section is for you.
Piano and Equipment
Bill Protzmann can either arrange for or work with you for delivery and tuning of
an artist-quality grand piano, suitable for your presentation space. For venues
local to Southern California, he can provide amplification equipment for
audiences of up to 250; in other areas and for larger audiences he expects to
use a sound system in the presentation space.
Vocal Microphone
Bill Protzmann provides his own vocal wireless microphone equipment, which
integrates to all normal public address systems with either "balanced Mic" or
"unbalanced Line" inputs.
Piano Microphone
Depending on the acoustics of the performance space, audiences with more than
250 participants appreciate a piano with amplification. Two Shure model 58
microphones (or equivalent) with boom stands and cables, properly positioned
over the piano strings, or a studio-quality soundboard pickup and cable, are
usually adequate for this purpose.
Ushers
It's best to have at least one usher for each 50 participants in the audience, in
part to distribute kazoos midway through the program (see below). When
possible, it's effective to have professional therapists, certified service officers, or
other individuals recognized in your local community and/or organization to serve
as ushers. One reason is that audience members often like to talk informally
about their experience of Connected after the program; becoming acquainted
with individuals who provide relevant services in the context of Connected is
beneficial and non-threatening to participants and ushers alike.
Audience Take-Aways
1. Part way through the program, each audience member will receive a
kazoo (yes: a kazoo). To keep the program moving and ensure everyone
gets one, it's best to have the kazoos hand-passed to the audience
members by the ushers or house staff.
2. The research bibliography and a one-sheet summary of recently
documented musical studies are included as the last three pages of this
document. You’ll find the one-sheet both helpful and accessible. Please
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Connected
Meeting Planner Notes
feel free to provide all or part of this to program participants for their
individual further inquiry.
Lead Time
Normal lead time for a presentation is 30 to 60 days, although Bill Protzmann will
do his best to respond to on-demand requirements based on his schedule and
availability of equipment at the location.
Take-aways for your audience size are shipped by two-day delivery two weeks in
advance of the presentation. He will follow up with you two to three days before
the presentation to confirm readiness.
Agent and Press Contact
Diane Wagner
Wagner & Associates
949.760.9379 ofc
info@billprotzmann.com
Other Useful Information
Following are several formats for introductory remarks, as well as a recent
testimonial from a presentation given in May 2008.
Condensed Bio
BILL PROTZMANN – (prahtz’ – man) life-long pianist, professional speaker,
composer, lyricist, and entertainer; warm and humorous storyteller; Bachelor of
Arts in English composition from Principia College, Bachelor of Music in piano
performance from the University of California, Irvine, with emphasis in theater
arts. He has been performing in public since the age of six. He created the very
first version of Connected in 1994, and has been performing it since for a wide
variety of audiences and purposes.
Suggested Introduction: Musical Performance
Bill Protzmann began the study of the piano at the age of three. By the time he
graduated high school, he had won top honors in a number of juried
competitions. In addition to classical recitals, Protzmann performed as a concerto
soloist with the Palo Alto Youth Symphony, played in Dixieland and jazz bands,
and performed in musicals and melodramas and as a solo entertainer. At the
university level, he studied classical performance piano with Marie Garrittson at
Principia College, Elsah, Illinois, where he also earned a Bachelor of Arts in
creative writing in 1982. Following college, he continued to perform in the
classical genre, giving several formal recitals of two-piano and four-hand works,
as well as maintaining a schedule of various solo engagements.
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Connected
Meeting Planner Notes
Protzmann's first recording work was done in 1993, and included an album of
popular songs from movies and musicals, as well as a spontaneously-composed
CD of original piano music, released under the title “Serenity.” Protzmann’s
improvisational style blends melodic elements of Chopin and Rachmaninoff with
modern New Age sensibility, and is lyrical and satisfying. His most recent
recording, "Equilibrium," is also all original, in collaboration with shaman Jodi
Roberts playing Tibetan singing bowls, and world flute master Cornell
Kinderknecht (kin'-der'kennect).
In 1994, Protzmann was asked to present a performance of piano music,
storytelling and entertainment at The Crystal Mountain Center for the Performing
Arts in Westcliffe, Colorado. That performance marked the occasion of the
premiere of his one-man show “For the Love of Music.”
In 1999, Protzmann completed a Bachelor of Music degree at the University of
California, Irvine. In addition to studying piano performance and repertoire with
Nina Scolnik, his interdisciplinary degree program also included work and study
in theater and playwriting.
Protzmann has a passion for genuinely connecting with his audiences. During his
performance, he talks about the songs, composers, and the art of playing the
piano. He often gets up from the piano to share a humorous anecdote about his
own life, or a moving story about the music, creating a warm and authentic
experience.
As he puts it, "the process of performing needs active listeners to participate in it
- to act with willing freedom to experience all the emotions music conveys."
Connected is part of his continuing dedication to bringing the experience of
music to life, and to helping listeners evoke the unexpressed. In so doing, he
helps people heal by listening with intention to music they love.
Please help me welcome virtuoso pianist and passionate humanist, Bill
Protzmann.
Recent Testimonials
Following are several recent testimonials that may be reprinted in your
promotional materials.
“We looked forward to hosting a night of music since the day we bought
the piano, and now it has come and gone. You truly made it a night to
remember. We have received numerous notes stating what an entertainer
you are, how gifted and creative you are, and what an extreme pleasure it
was to be a part of it all. Our friends are still talking about it.
Feb 16 2010
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Connected
Meeting Planner Notes
“Chris and I had such a grand time that we want to do it again, but with a
few less people! If ever you need surroundings like our home to do
another taping or to try out something new, please call. Meanwhile, we
look forward to seeing the taped version. Again, thank you for such a
memory!”
Chris and Pam Bradish, Redlands California
“Spiritually rewarding.”
Peggy Frye, San Clemente California
“What is special about Bill is his commitment to reaching the listener.
This is evident from the enthusiastic response of his audiences and soldout houses.”
Nina Scolnik, Irvine California
“Spirited story-telling about the greatest story on earth: love. Fun,
entertaining, spirited, humorous, witty, charming and communicative.”
Judy Kelly, Laguna Beach California
Noted Coachella Valley therapist Deborah Meints, who has both experienced
Connected and used it with her group sessions, is available for professional
comments and opinions on the program.
Deborah Meints
Village Counseling
73-302 Highway 111
Palm Desert, CA 92260
(760)773-0669
deborahmeints@yahoo.com
In June 2009, Bill Protzmann was invited to present a short version of Connected
at the National Association of County Veteran Service Officers annual convention
in San Diego, California. More than 400 certified VSOs were in attendance. For
information, please feel free to contact:
Dr Tom Splitgerber, US Navy, Retired
Veteran Service Officer, County of San Diego
734 W Beech St Ste 200
San Diego, CA 92101-2441
(619)531-4545
tom.splitgerber@sdcounty.ca.gov
Feb 16 2010
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Connected
Resources
Resources: Findings that Support Connected
Books
These titles each have their own extensive bibliographies and other resources.
Campbell, Don: The Mozart Effect -- Tapping the Power of Music to Heal the Body,
Strengthen the Mind, and Unlock the Creative Spirit, Harper Collins Inc, New York, New
York (first hardcover 1997, current edition 2001)
Karas, Jim and Costas Cohen, Cynthia: The 7-Day Energy Surge, Rodale Books, New
York, New York, 2009
Levitin, Daniel J: This is Your Brain on Music -- The Science of a Human Obsession,
Atlantic Books, London, 2007
Ostrander, Sheila & Schroeder, Lynn: Super-Learning 2000, Dell Publishing, New York,
New York, 1997
Sacks, Oliver: Musicophilia -- Tales of Music and the Brain, Vintage Books (Random
House), New York, New York, 2008
Wegner, Win: The Einstein Factor, Prima Publishing, Rocklin, California, 1995
Internet
http://www.heartmath.org – research on the mind/heart/body connection
http://www.mozarteffect.com – great searchable resource database on music and the
mind
http://www.superlearning.com – mostly a sales site, but the links are useful
Scientific Papers
Title: Maturation rate and spatial, verbal, and musical abilities: a sevenyear-longitudinal study.
Author: Hassler M.
Journal: International Journal of Neuroscience, 1991 Jun, 58(3-4):183-98.
Abstract: We traced spatial, verbal and musical abilities through a seven-year period of adolescence. When we started our study,
60 boys had reached a mean age of 11.72, 60 girls were 11.52 on average. Menarche and mutation served as markers for
maturation. We found that early, mid, and late maturers differed on spatial orientation and on tactile-visual discrimination as
measured with the Witelson task. No differences between the maturational groups emerged on verbal fluency and on Wing's
Standardized Tests of Musical Intelligence. At some stages, sex differences on spatial, verbal, and musical tests emerged, and
disappeared at others. The sex differences in performance levels were not associated with a sex-specific relationship between
maturation rate and performance levels. We found indications of the usefulness of sex hormone measurement in relation to
cognitive and musical development in adolescence.
Page 1
Connected
Resources
Title: 'Musical brain' revealed by high-field (3 Tesla) functional MRI.
Author: Nakada T; Fujii Y; Suzuki K; Kwee IL.
Address: Department of Integrated Neuroscience, Brain Research Institute, University
of Niigata, Japan.
Journal: Neuroreport, 1998 Dec 1, 9(17):3853-6.
Abstract: The cortical areas subserving music literacy were investigated using high-field (3 Tesla) functional magnetic resonance
imaging (fMRI). The activation pattern associated specifically with music score reading was compared with that associated with
reading text in a subject's primary and secondary language. While the areas of activation were predominantly identical for all three
reading modalities, there were areas within the occipital cortex activated exclusively by music score reading. Grand analysis of the
activation patterns of eight pianists unequivocally identified that the principal cortical area needed for music literacy is the cortex
flanking the right transverse occipital sulcus (musical brain).
Title: Music, the brain and Ravel.
Author: Sergent J.
Address: Cognitive Neuroscience Laboratory, Montreal Neurological Institute, Quebec,
Canada.
Journal: Trends in Neurosciences, 1993 May, 16(5):168-72.
Abstract: Understanding the functional organization of the cerebral structures underlying receptive and expressive musical
processes is confronted with a wide variety of difficulties inherent in the artistic and subjective nature of the musical experience.
Yet clarifying the relationships between music and the brain is a legitimate goal of neuroscientific research. One approach toward
this goal is based on new developments of brain imaging techniques, and recent investigations indicate that the realization of
musical abilities such as sight-reading and piano performance relies on a distributed neural network comprising locally specialized
cortical areas. Another approach is concerned with the study of musicians, like Maurice Ravel, who have been affected by brain
damage. An analysis of their deficits helps to uncover some properties of music-brain relationships, to identify the essential
questions raised by these deficits, and to clarify the neurofunctional anatomy of musical abilities. The understanding of the
neurocognitive bases of musical functions is still at an early stage, but recent progress in cognitive and neurofunctional research
opens the way to more systematic studies than had so far been possible.
Title: ERP measures assay the degree of expectancy violation of harmonic
contexts in music.
Author: Janata, Peter.
Affiliation: U Oregon, Inst of Neuroscience, Eugene, US.
Source: Journal of Cognitive Neuroscience, 1995 Spring, v7(n2):153-164. References.
Abstract: Studied expectancy violations of a highly constrained musical context. 23 students with experience in playing a musical
instrument were presented with a chord sequence (I, IV, V) that generated a strong expectancy for a specific final chord. The
sequence was completed with a best-possible or expected (tonic), harmonically plausible (minor), or harmonically implausible
dissonant) resolution. Subjects determined whether it was the best-possible resolution, and in half of the trials made their decision
known with an overt response. Several event-related potential (ERP) waveform components showed differences among resolution
types, response conditions, and electrode locations. Among the affected components were 2 subclasses of the P300. Results
suggest that frequency and time-domain analyses of the brain's electrical activity may provide a means for assaying the magnitude
of perceived violations and fulfillments of expectancies in harmonic structure. (PsycINFO Database Copyright 1995 American
Psychological Assn, all rights reserved).
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Research on the Power of Music cited in “The 7-‐Day Energy Surge” by Jim Karas, published April 2009
Music  = Anxiety 
Baltimore Hospital:
30 minutes of music was as beneficial to heart patients as 10 mg of anti-anxiety medication
Music  = Sleep 
Music  = Pain 
Case Western University: listening to relaxing
music for 45 minutes before bed slowed
breath rate, promoted a faster drift to sleep,
and facilitated deeper sleep
Dr Claudias Conrad of Harvard played Mozart
for intensive care patients in pain and found
they:
Music Therapy Today Feb 2005: 74% of high
school students who listened to peaceful
music before bed every night for a month fell
asleep within 10 minutes, had a decrease in
nightmares, and felt better the next morning
•
•
•
Needed half as much pain medication
Increased their levels of pituitary
growth hormone (healing!)
Had a 20% decrease in two known
stress hormones
Men hospitalized with back pain who listened
to music for 25 minutes slept better than
those who didn’t listen
European Journal of Anesthesiologoy 2005
study: patients who listened to music after
hernia surgery needed less morphine
Music  = Blood Pressure 
Music  = Memory and Attention 
University of California San Diego: study
participants were given a stressful task, then
urged to do it faster; afterwards, they listened
to different types of music or silence:
The Lancet, Feb 2008: 60 stroke patients in
Finland were monitored based on whether or
not they listened to music:
•
•
•
Non-listeners’ blood pressure spiked 11
points
Listeners to jazz and pop had less of a
spike
Listeners to classical music spiked only
2 points
•
•
Listeners had better recovery of
memory and better attentions skills as
well as a more positive outlook
After 3 months, verbal memory
improved by 60% in the listening group
Music  = Performance 
Australia: Listening to Pachabel’s Canon in D before a speech, oral presentation, or job review
prevented stress reactions, such as high blood pressure, heart rate, and cortisol levels versus a
non-listening control group
The Power of Music by Susan Hallum: children given music lessons as opposed to drama
lessons improved their IQ scores by two or three points