{'fraction_non_alphanumeric': 0.02804642166344294, 'fraction_numerical': 0.016118633139909737, 'mean_word_length': 5.084313725490196, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
CEREBRAL BLOOD FLOW PATTERN SYNCHRONIZATION WITH TIME SEQUENCES OF MUSI C

We investigated the brain hemodynamics of musicians by means of near infrared spectroscopy. The hemodynamics related to musical recognition processes in the human brain were investigated by utilizing a system based on NIRS. Optical absorption at 690 830 nm in the frontal and temporal lobes was measured when the subject was exposed to musical stimulation. During the playing of a keyboard instrument such as a piano, the player’s frontal lobe showed a clear and reversible decline in the level of blood flow. Apparently, the blood flow pattern in frontal region synchronized with the sequence of music following its composition along a time axis. The results also indicated that as well as structures in the sequences of the compositions, the level of musical training and the human-instrument interface affected the dynamics of blood flow, which reflected brain activity. However, synchronization of the blood flow dynamics with the musical structures of an individual composition was reproducibly observed in a specific pattern of changes in the blood flow in a human brain cortex. Recently, neurological studies---fMRI, MEG, etc.---of a musical task provided us with a possibility of determining whether the functions of musical processing inside the brain are localized in a specific region (Avanzini et al., 2003; Zatorre et al., 2001). In addition, large numbers of studies have discussed the laterality of the human brain in the processes involved in recognizing music (Splacy, 1970; Nakada et al., 1998). In addition to the above-mentioned physiological studies, which directly access the brain, psychological approaches to musical recognition have a long history (de Laat et al., 1985; Kuwano et al., 1994; Nakajima et al., 1983; Raiford et al., 1971; Srulovicz et al., 1983), and the effects of acoustic properties on mental processes have provided us with fundamental and significant information. Alternatively, recent physiological techniques utilizing near-infrared spectroscopy (NIRS) have become one of the conventional methods for psychological investigation because the subjects do not need to close their eyes and can perform the tasks in a normal manner (Chance et al., 1977; Hoshi et al., 1993). Therefore, it is thought that NIRS is an adequate method for monitoring human brain activity while a person is creating music by using his/her body and a musical instrument. Hemodynamic data, which are the dynamic behavior of the physiological parameters of blood in brain tissue, include oxyhemoglobin, deoxyhemoglobin, total blood flow, etc. In the present study, musical recognition processes in human cortices were investigated by utilizing an NIRS system. During active listening to music, the dynamics of the blood flow in the frontal and temporal lobes were obtained from subjects including both professional and amateur musicians. The obtained time course of the parameters associated with cerebral blood flow showed a specific blood level pattern that depended on each of several musical compositions.