Psychomusicology 101: Inter-hemispheric Mental Imagery in Music

Cognitive, n. the mental action or process of acquiring knowledge and understanding through thought, experience, and the senses (Google, n.d.).

Mental images mixed together with perceived sounds of emotion utilizes different portions of the brain for producing a particular feeling. The imagined image placed together with a musical arrangement presenting a feeling, or what the brain thinks the feeling sounds like, produces an enhancement of that image and musical arrangement reflecting each other. To be more specific, a structure in the left hemisphere of the brain, the cerebrum will function formental-imagery 3 various tasks; the most task in focus for this post is conscious thought or the induction of it. Interestingly, with careful music placement, the focus of music is directed towards conscious thought, as the activations may be arranged for knowledge reception attended for enjoyment directed at specific locations in humans’ psychologies; it is possible to manipulate sounds for mental imageries that are activated–and ‘adhere-too’–by the simple physiological rules of the human senses. With this in mind, we can create episodic images, with sonic adaptations placing enjoyable experiences into sound design parameters for quality enhancement in music production; I only assume that the adaptation and acknowledgment of additional dimensions in creativity may intensify the musical experience–and perhaps–maybe even an origination of creativity within imagination itself for others. 


In the short project presented above, the topic of Davy Jones Locker is displayed in audio format with Davy Jones’ heartbeat–as his heart is locked in the locker–the audio was acquired from samples in the Pirates of the Caribbean movie, itself. The helpful use of video accentuates the sounds that facilitates focus on a heartbeat; the tempo, slow with siberian riffs, creates inter-hemispheric imagery of neurotic invitations to leave wonderment upon a beating heart–“its” reasoning for such demonic wrathful roads of such supernatural practices to sustain maintenance for that purpose of each heartbeat. This suggests production enhancement techniques for the use in music production, the topic–whether visually inspired or not–the music may accentuate parameters to display emotional inferences; however, the details in lyrics, tones, and tempo–ultimately–direct the plot, and props, that adds meaning to the storyline–to the imagery topic of focus. Additionally, the emotional experience for each individual may be different in specific instances of experienced emotions; it is important to consider the personal definitions of enjoyable emotions–or non-enjoyable ones–are defined with tastes of negative or positive valences echoing through neuro-psychophysiological networks and chambers, as each memory is coded into human information processing systems of memory. This places the importance of inferences to be lead down towards the attended emotional imagery for each music production, but that attention directed towards these acknowledgments–as producers–can be “somehow” given some type of message, or deliver carefully psychological triangulated activations, to be holistically placed towards those that will understand the meaning, that only, they have had the same experiences.


UP101: Social Psychology of Music & that Social-Personality

What does music mean for you? What does music mean for all the people around you on a daily basis? The meaning of music for individuals may mean something meaningful to themselves. In wonderment of emotions and behaviors that emit from an individual, what is it safe for assuming, what music might mean towards all those individuals.

city-sphere-20966129Interestingly, you, all surrounding individuals around you, and music, have a form of aura that intertwines with all surrounding matter in that environment. The thing is that, all surrounding matter in that environment has a purpose, that purpose is reflected towards all the individuals of that environment. So, environmental factors of that particular purpose, for that matter of existence, intertwined with human psychology introduced with musical facets, will ultimately generate a social psychology. Social psychology incubating in unison may formulate a cataclysmic climax of music into an entity that could be either known as music industry’s best friend or worst enemy. In either sense, the quality of music always prevails; additionally, with proper management of that product, the final view of music is observed as a controlled substance to be carefully delivered among public relation elements to protect that product’s value and its reception to users.

Let’s use a class or an educational environment as an example; the students will be the audience, and the instructor will be the performer. The performer has a lesson plan developed from curriculum designers that designs knowledge that transmits into human psychology for reception, as that transmission is produced to be utilized to process the meaning of that delivered message towards the learners, or in other words, the audience. Coincidentally, curriculum designer’s job is designing lesson plans in curricula, for easy consumption of that lesson plan; the more easily it is for reception, the more easily it is for delivering that message with enjoyment towards the receivers. So, imagine the brain with all other elements on it, in it, and around it, the ultimate mission for the curriculum designer, or in other words the producer and/or artist, is acknowledging all those surrounding existences for penetrating through lbrainearners’ psychology to understand the lesson, or in other words the message of the song. The adversarial elements look like this presented image, and that is only half of the challenge, as there are other characteristics to evade, an example is social psychology or the social personality interaction with the instructor, the performer.

Now, back towards how this periodical began, what does music mean for you? Is it for socially sharing time with friends and/or family; is it for personal time for relaxation or special moments of memory; in either sense or purpose, when music in thought of every individual in any-given-environment, can you imagine that that music is producing an emotion in which promotes a behavior. And, in that any-given-environment, that that social-personality has been designed from some curriculum designer, that instates its message out towards everybody in that environment.scienceidea-08 How would the lesson plan—or in other words that song and/or performance—in turn, help for promoting quality messages in each lesson plan with favorable ques, inferences, and vital signs of basic living support instances. It is in the value of every participant in that environment, as self-awareness is acquired for what are the controlling elements in that lesson plan—in other words, song and/or performance; and MAKE SURE, YOU ARE WHERE YOU’RE AT FOR YOUR TRUE ENJOYMENT of what it has truly been known for producing.

Please do not hesitate leaving comments or asking questions in the comments section, or email

Psychomusicology 101: Avant-Garde Artistry vs. ‘Keeping it Real’ in Music

NOM is care. For every lock, there is an equal and opposite key, that will unlock an upside down waterfall from earth out towards the sky; never that pain again, love, from any heavens and hells on earth and up in the universe, never that pain again.


“Our tune is the crying of the machines. Our music is the roaring of engines. Our sounds are the final rearing. We are dancing the downfall, to be able to live”-Einstürzende Neubauten

In the past, the music genre, punk, was thought of as being a voice of music from youth, with therapeutic characteristics against social psychological facets of depression. Social depression was considered generated from socio-economic interests, or as a socio-economic evolution. Not fully felt the experience of socio-economic reform by all, the population, the fears of socio-economic reform was relieved when venting out aggression through provocation, or a perception of self-perpetuated duality, that articulated out, solely, from the avant-garde of artistry. As therapeutic instances are carried out through therapeutic expression, thought as an art, the artistic support of music began crossing the line of art and destructive aggression realities of life, not fully relieved through artistic expression; but instead, carries the aggression over from artistry into realities of life.

So, where does this place music listeners, who, actually support the arts of music with an appreciation? The social bonding of music places boundaries from those outside the social bonding group, as it is an integrated sharing of musical enjoyment reverberating throughout the physiological structure of the human mind. Coincidentally, the human mind fosters many emotional combinations that truthfully underlie behaviors. In the crossover from music arts into the realities of life, whose realities of life are forcibly inclusive to those surrounding the social interactivity of social bonding through music enjoyability. If accountability may be overlooked, is it safe for assuming that safety precautions in balancing the allow-ability of a particular music genre to flourish, is worth the loss of that music genre, as it began in someone’s young eyes, to bare the cost of denying high opinions for that music genre because of overlooking the accountability of crossing-over destructive realities of life coming from that avant-garde artistry of music. Only time will tell; the only attribute contributing towards conservation of favored, and appreciated music, is the acknowledgment of fine lines between the avant-garde of artistry of music vs. the realities of life that is musically expressed. So that when finally, that fine line is reached, it is the acknowledgment of that fine-line that evokes a self-awareness for controlling urges of crossing over aggression, from real live events, into the avant-garde of artistry.

Psychomusicology 101: Music & 3-Dimensional Staging on Human Psyche

Actual sonic designs with 3-dimensional aesthetics in music production pieces (the nature of art, attractiveness through emotional enhancement, instated in music production designs).

It is true, for creating perceptions of emotions embedded in music, it is technically achieved with loudness and sound level manipulation. In processes between properly mixing loudness and sound levels, there is the possibility of cross canceling levels due towards combining sound waves from music ensembles and stage acoustics; therefore, in providing clarity in sound design of music productions, the staging placement in the final mix down is important for carefully placing each instrument. Each instrument and vocals in its finalized position is placed for Sound Recording publishing. Interestingly, the acknowledgement of this application in music production also enhances psychological stimulation, eliciting from pre-dispositioned sounds that align with specific words of action in song writing; therefore, breathing life and animation into sonic masterpieces for listeners.

In music production, it personally appears as an XYZ 3-dimensional graph, as a musical piece will travel left towards right, from Point A towards Point B, starting at 0; however, all in between that provides the breath of life and animation into sonic masterpieces, must attend towards the Y & Z in the design for tailor fitted directional populated areas of those coordinates. The populated areas in coordinates, Y & Z—for me, are proper sound level placement and creative areas of song writing, that will align with proper analytics read from audio scanners and analyzers. Of course, audio scanners and analyzers alone, will not guarantee adequate creative qualities of production evoking pre-planned theatrics of that musical piece. As it may be, the music piece will be ultimately honed by the book work practices, measurement guidelines, and high-end equipment; truthfully it helps, but the bottom line is that the lyrical content, chord arrangement, and catchy hooks provide the final answer for a keeper or not. Interestingly, good lyrical content, chord arrangements, and catchy hooks—when not heard properly—loses its potential for listener appreciation; so what does that mean? It means that the music production’s content isn’t an actual musical entity without the book work practices, measurement guidelines, and high-end equipment in studios, so the proper balance in both perspectives of music production is in need of each other, as one won’t supersede towards professional level audio dynamics without the other.

Psychomusicology 101: Is It Growing? Profession vs. Recession the Music Market

Formal and the informal approach towards music, musicians, and music producers. Many individuals of the current times, the everyday consumer may adjust and drift towards directions of technological advancements bringing abilities of many facets from high-end, equipped and designed, organizations of business into the private home of any individual. The results of this occurrence is observed throughout the history of entertainment industry, as procedures of traditional standard technologies in entertainment appears managed for facilitating an understanding of public entertainment and production, with a social psychological awareness at national levels, opposing an understanding for destructive social psychology, that appears it has met the current times of consumer level media entertainment technologies.

The patterns involved in traditional entertainment industry production, apparently, have different socially engineered consequences that is seen in news media. For instance, observed in different genres of public and civilian settings, entertainment venues display violent acts of terror, or heinous crimes, as a shooting at T.I.’s concert leaves an entertainment industry supporter lifeless.; another shooting massacre runs rabid, with indications of an inspired rap artist as the massacre shooter, acknowledged after capture and investigated (Paris terror suspect shown in 2005 film, 2015); man is shot promoting peace outside a concert (Man dies after shooting outside Philadelphia concert held to promote peace, stem violence, 2014); in Texas, four innocent people died at SXSW venues (1). Additionally, the business of music and film production have also experienced the tale-tail signs of negative trends, as in 1997, prior to the most recent shootings, reports of violence and weapons are presented and sustained throughout music video shoots(2). However, now, the traditional production practice of entertainment industry standards seems as if it is catching up with similar experiences lived out by the music listeners of negative events, only to be followed by occurrences—in 2015—where 16 people are wounded at a block party, hosting a video shoot for a music video (Police say 16 injured after shooting at New Orleans park, 2015).
Is it possible that these are increased trends caused by technological advancements that have always been well managed in social relations from the traditional entertainment industry practices since the beginning of Motown and Hollywood?

Music and psychology is documented originating from around the 1960’s; as it began, it was first initiated for understanding cultures, and the ethic basis for understanding the sustenance in music, as it may have cultural reasoning for the common mental states of individuals from that particular culture. So, in that understanding of cultural basis for sustaining a music, as the initial start of an American Culture associated with a genre, rock n’ roll, it began harsh by the deviant for the unruly, and settled into milder forms of rock n’ roll; hip-hop began as a mild vibe with a ‘come-on-and-everyone-join-in’ type of rhythm. In gatherings of dancers, playing classic hip-hop, crowds also gathered for entertainment, as the on-lookers observed the dancers and heard the music, it was the occurrence of enjoyable reactions emitting from body movement and facial expressions that leaves tale tail reminiscences from the four elements of hip-hop music.

So as it started as a mild vibe with a ‘come-on-and-everyone-join-in’ type of rhythm, the recent times display escalated patterns that I have observed as individuals that lose themselves in unrelated coordinates of lifestyle, other than traditional American Culture generated art forms of hop. I mean have you ever busted a piece; have ever rocked massive pop-lock cardboard sessions on street corners gliding around in an American Culture origination, for having results with social patterns that may have tourists running for the LAX in the hopes for never experiencing the new trends our American Culture generated art form has blessed us with.

People fleeing towards LAX would look like this youtube video clip, however, in reverse.

Lastly, negative or violent trends may render future limitations for music genres or music businesses; however, for the preservation of the arts for maintaining the options for freedom of creativity from artists and associated labels,  the process of preservation requires an accompany-ment of self-regulated originations for preserving quality and the avant garde of artistry, all at the same time. Perhaps these results may have began with the shift of traditional practices of music and film production because of technology advancements leading away from the traditional entertainment industry protocol; however, these current trends and patterns have not ever been presented with such escalated levels as the traditional arena of entertainment industry production practices have never been known for.


2 Contact author for reference.

Man dies after shooting outside Philadelphia concert held to promote peace, stem violence. (2014, August 7). Fox News. Retrieved from

1 Contact author for reference.

Paris terror suspect shown in 2005 film [Video file]. (2015, January 17). From amateur to ruthless Jihadist in France. The New York Times. Retrieved from

Police say 16 injured after shooting at New Orleans park [Video file]. (2015). Fox News. Retrieved from

Shooting at T.I. concert at Irving Plaza in Union Square leaves one dead, three injured [Video file]. (2016, May 26). New York Daily News. Retrieved from

Psychomusicology 101: Actual Feelings & Perceptions in Music Ep. 1

The differences between feelings and perceptions meanwhile experiencing these instances with music. A love song–when heard–the assumption about love in music would repeatedly assume the sounds of love music as slow with melodic harmonics. These arranged sounds may be presumed to be as a conjuring, of aesthetics, eliciting a mellowness thought to be the swaying elements perceived to be felt when in love. Interestingly, observing the last 7 words of the last sentence, “…perceived to be felt when in love”; the concern to me is, how do you perceive what–when love is the subject–how you confirm what it is that lays down your final affirmation on how it is to be in love, or how it is to be felt by love–in other words–how do you imagine, or percieve, how feeling in love is?
In music, the proper combination of elements constructed together by music producers
may generate feelings directly from parts in your body, usually the mind, but there are other areas other than the mind that trigger feelings as well. Other areas other than the


mind triggering feelings, are areas already known from studies connecting musical elements that evoke chills, shivers, or goose bumps; however, do you know why your body produced chills,


shivers, or goose bumps; the same goes with stimulation that produces sensations of love, would you see it as actual feelings of love–real love–or are they perceptions thought that is what love would be like from previous observations and experiences. And in the process of living out feelings and perceptions from music elements–when you are listening to those elements–do you know if, or how, you would know when you are experiencing a perception or an actual feeling?
In interviewing an individual, we reviewed the emotionality displayed in Keith Sweat’s, “How Deep is your Love”. In the interview, a question was asked on the past experiences, emotionally, from listening to this song from when you first heard this song.

The answer was replied with the experience as being actually love encapsulated in the recording. The reply was reinforced with the first time the song was ever heard at a young age, as the interviewee belted out with how could a person apply a perception of love, if that person has no idea what love is for even making a perception off of it–especially for assuming a perception off of a musical piece.
With more current times, the level of artistry behind each musical piece will equally earn its value in timeless collections of our music libraries archived, for mankind, for our entertainment industry culture; and even so, musical pieces encapsulate the creator of the times displaying talent that stimulate our senses for experiencing feelings, or perceptions of feelings. However, in this example I chose for you all to experience the difference between a perception, and an actual feeling. For instance, “Lost One” the title alone promotes a perception, the perception open for any suggestion; however, master pieces involved with Jay-Z’s musical pieces places his song writing capabilities, in rhyme format, in a Higher Order of Thinking Skills domain that embed feelings behind each word. The rhyme delivery sways the beat, or the beat sways the rhyme, either way, Jay-Z speaks of losing one, and in this piece, it is actually a love song, brilliantly G’ed-up with skills from the four elements in hip-hop. To experience the track fully, providing the option for experiencing each frequency range, when appreciating music, is highly suggested as levels of feelings will enhance.

Don’t forget, other than love, there are other emotions and feeling left on a painter’s palette; for those that appreciate perceptions, it’s a matter of owning a self awareness when it comes to protecting your household filled with emotions, that ultimately drives behaviors; therefore, ultimately ends with a form of instability, or an unnecessary anomaly known to be associated in actual feelings from artists, for emitting each creative unique craft of music production in an understanding for a treatment that is always underlying every piece of music in the industry.1349319861918838118

Urban Psychomusicology 101: The Music Improvisation Domains, “FREESTYLE”!

Music improvisational domains, does hip-hop’s freestyle qualify for music improvisation qualities?

Music improvisation is considered universal, always in real-time. Improvisation lyrics in music may push the boundaries of current music styles versus music evolutionary practices. This form of art encapsulates the environment–on the fly–with no arrangement, however, it is set in a pattern appreciated from an area of music where arranged structural organizing is a part of the process. Encapsulated essences of the environment comes from centralized, interstellar stations of creativity in the mind, as freestyle, compared with other modalities of music to followers of music appreciation, is considered a genre that does not qualify as a form, or fitted, in the musical domain (1).

Personally, I believe differently, the art of freestyle parallels a mindstate in improvisation; improvisation is known iimagesbf2mc2pjn jazz with the piano, and heavy metal through heavy guitar leads and riffs, so why isn’t the voice with logical patterns seen as an instrument from artists. Here in the photo, this is my interpretative rendition of how the balance of mental instrumentation, guiding ‘the freestyle’ as it is appearing when driving a rhythmic ensemble of poetry. As the individual is in a state of openness to experience risk-taking journeys lived-out in completing a freestyle, the lyrical scope is driven by environmental parameters that guides what is available for the palette to lyrically paint. Some may believe that freestyle is considered as a genre in itself, I disagree, as piano improvisation and guitar leads in Rock or Jazz performances, the improvisation of the instrument is not a genre itself. Freestyle as a genre within itself would mean that specific details in hip-hop, dub-step, or drum-n bass–for the freestyler–would need meeting genre specifications. Freestyle as a genre cannot qualify, because it is observed as improvised round-robin rapping and is delineated, and/or unwritten, expression of music (1). This suggests a linear structure of music is required for completing music specifications, the art of freestyle, alone, would not fit genre accommodations.

Some hip-hop researchers, particularly about freestyle, attributes to the art of freestyle as a communicative pattern, as patterns made for specific reasoning’s of recognition (1); however, what if it’s not. If those that observe it, and for those that achieve it, the freestyle—as it is truly observed—may be seen different. One who achieves freestyle, the freestyler, may appreciate the phenomenon as channeling, or a form of zoning out; meanwhile, the observer may appreciate the competitive perspective, as the more concentrated usage of the art is directed for tournament-based competitions of entertainment closely associated with sports. ‘Battles’ in entertainment arenas of freestyle are observed in the ‘Freestylin’ sub-branch of ‘Rap’, as rap in ‘Hip-Hop’, illustrates hip-hop derived from four elements: Graffitti art (“writing”), Turntabism (DJing), Break dancing (B-boying), and Rap (1).hiphop

Here, the movie, Wild Style (1983), displays masters of ceremonies, the MC, performing lyrical content in succession; however, the battle aspect is not, or has not, reached that level in hip-hop artistry as it is appreciated today; yet, the styles displayed here in this sample are fluent, mellow, and groovy.

The times today display the art of freestyle in different platforms, and the purpose for the freestyle was for entertainment, subsequently, some may appreciate the phenomenon of freestyle as a form of channeling; some may think it’s therapeutic; some may unknowingly experience it as risk-taking, thus, jumping on a risk-taking wave for a-verbal-ride, meanwhile maintaining rhyme structure, conceptualization, (at times) harmonies, and ethical sustenance in verbal accountability.

As some may put a professional study and/or personal study into the craft, it is true there may be some psychological involvement that biologically connects towards an individual’s level of the art. In doing so, it is an unrehearsed non-linear form of expression–mostly on linear medium, such as, an instrumental–the fascination with the art as entertainment, and interest, may range from highly musical interpretative to phenomenon.

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