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Fetal Development
Today, it is known that the fetus is able to learn and to memorize, and in so doing, it is interacting with its surroundings. Social life does not start at birth but develops gradually during pregnancy. There is a prenatal emotional communication between the fetus and its mother, which is mediated biochemically (e.g., maternal anger leads to high cortisol and adrenaline level). In the womb, as a “prenatal schoolroom,” the fetus has a range of experiences. Musical learning and musical memory start before birth, so when the child is born, it has already acquired acoustic experiences. These have an influence on behavior after birth, as is also seen also in other creatures such as sheep or birds. Newborns react positively if they hear sounds that are similar to those they heard inside the womb.
Historical Development of Research
One of the earliest books about fetal development in the context of music was published by the German psychologist William Preyer in 1885: Specielle Physiologie des Embryo (Special Physiology of the Fetus), with a separate chapter on “Die Fünf Sinne vor der Geburt” (“The Five Senses Before Birth”). Preyer was certain that the fetus could not hear sounds. However, in 1925, Albrecht Peiper conducted experimental studies with an automobile horn and refuted the thesis of the fetus's “deafness.” However, in recent decades, technical developments such as ultrasound, photography in utero, and medical instruments that can measure body movement and the heartbeat of the fetus have improved research into the behavior of fetuses and newborns (mainly conducted by developmental psychologists, behavioral neurobiologists, and music psychologists).
Methodologically, it is difficult to distinguish between a direct reaction from the fetus and indirect reactions through the mother, because the fetus is connected to her anatomically although not sharing all of her physiological states. Furthermore, it may be that the fetus perceives sounds but does not react to them. Sophisticated research about correlations between fetal acoustic experiences and musicality or acquisition of language is still required.
Characteristics of Acoustic Perception
Starting with the 20th week of pregnancy (of a total of 40 weeks), fetal reactions to acoustic stimuli are traceable, but with a latency. With 25 weeks, reactions begin immediately. At this time, the fetus reacts to sounds, detectable via fetal body and breathing movements or changes in heartbeat. Amniotic fluid inside the middle ear before birth transmits the sounds. By the 28th week of pregnancy, the inner ear is fully functional. From this stage onward, acoustic stimuli lead to consistent responses. Thus, the fetus can hear during the last trimester of gestation but is not able to localize sound sources. The ability to distinguish between different sounds continues to develop during this time. In the 36th week, the fetus is able to distinguish between two tones with an interval of an octave.
Noises from eating and drinking, the stomach and bowel, the cardiovascular system, heartbeat, and body movements such as walking, dancing, or running are acoustic signals from inside the mother's body that can be heard by the fetus. The loudness of these noises has not been clearly defined. Some authors describe it as very noisy (72–96 decibels [dB]); others measured approxmiately 30 to 50 dB in nonpregnant women and after delivery. Acoustic stimuli transmitted from outside the uterus are attenuated by about 30 dB because of the abdominal wall and the womb: high frequencies beyond about 2 kilohertz (kHz) are inaudible; moderate frequencies, which are relevant for speech and music, are slight; and low frequencies below about 300 hertz (Hz) are attenuated only very slightly. The mother's voice is the best-heard stimulus because the sound is transmitted via her bones; in contrast, a newborn cannot recognize its father's voice.
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- Aesthetics and Emotion
- Action Tendencies
- Aesthetic Response
- Affect
- Arousal, Emotional
- Authenticity
- Belief
- Circular Tones
- Cues and Signals
- Emotion
- Emotional Contagion
- Emotions, Aesthetic
- Emotions, Mixed
- Emotions, Primary and Secondary
- Empathy
- Evaluative Conditioning
- Meaning
- Mood
- Music Preference
- Musical Semantics
- Nostalgia
- Personality
- Rating Scales
- Relativism, Cultural
- Repetition
- Sad Music, Psychological Implications of
- Schema
- Style
- Subjectivity
- Syntax
- Tension
- Violence and Aggression
- Business and Technology
- Access, Digital
- Advertising
- Affordance and Appropriation
- Algorithm
- Appraisal
- Arthouse
- Authorship
- Classification, Music Store
- Computer Music
- Consumerism
- Copyright Law
- Copyright, Defined
- Driving While Listening to Music
- Green Music Alliance
- Lyrics
- Marketing
- Music Journalism
- Musical Instrument Digital Interface
- Pay to Play
- Payola (Radio)
- Phonograph
- Royalties
- Sectors, Music Industry
- Song
- Songwriting as Profession
- Touring
- Workout Playlists and Portable Devices
- Communities and Society
- Algerian Raï
- Antiestablishment Music
- Antiwar Music
- Apartheid
- Attunement and Affiliation
- Bards
- Blind Musicians
- Campaigns
- Civil Rights, U.S.
- Database Studies
- Diplomacy
- Ecological Validity
- Enculturation
- Fascism
- Fight Songs
- Generation
- Historical Musicology
- Indigenous Music
- Mass Hysteria
- Music Collectives
- Oral Tradition
- Patriotism
- Poetry
- Political Music
- Protest
- Race
- Revolutions
- Social History
- Spirituals
- Terrorism
- Troubadour
- War Music
- World Music
- Culture and Environment
- Anthems
- Anthropology
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- Bird Song
- Cantometrics
- Chords, Perception of
- Classics
- Community Music
- Country Music
- Cultural Heritage
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- Cultural Meaning of Gender, Music and
- Cultural Renaissance
- Dance
- Death
- Drugs, Recreational
- Ecomusicology
- Environmental Causes and Campaigns
- Ethnocentricity
- Ethnographic Studies
- Ethnomusicology and Ethnomusicologists
- Everyday Uses of Music
- Fans
- Fieldwork
- Folk Music
- Gender
- Globalization
- Habitus
- Human Behavior, Music as
- Hymns
- Identity
- Imagery
- Immigrant Communities
- Inspiration
- Intellectual History
- Marching Bands
- Men
- Music Culture
- Music Festivals
- Music Traditions, Continuing
- Nature, Music in
- Performativity
- Philosophy
- Popular Music
- Primitive Music
- Prosody
- Religion
- Rituals
- Rock Concerts
- Social Networking
- Sociology of Music
- Soundscape
- Sports
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- Subcultures
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- Tone Language
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- Urban Music
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- World Soundscape Project
- Elements of Musical Examination
- Analogy, Metaphor, and Narrative
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- Architectural Acoustics
- Atonality
- Auditory Stream Segregation: Applications
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- Auditory System
- Behavioral Measures
- Brain Stem
- Case Studies
- Categorical Perception
- Closed Systems
- Closure
- Cochlear Implant
- Computer Models of Music
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- Consonance and Dissonance
- Continuous Response Measurement
- Converging Evidence
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- Distraction
- Empirical Musicology
- Feature
- Features, Independence and Interaction of
- Fourier Analysis
- Generative Theory of Tonal Music
- Gesture
- Harmonicity
- Harmony
- Hearing Damage
- High Fidelity
- Humor
- Illusion
- Imaging Techniques
- Information-Processing Paradigm
- Instruments
- Intentionality
- Interval
- Intonation
- Loudness and Intensity
- Melody Processing
- Mode
- Music, Definitions of
- Musical Meme
- Musical Research, Causal Effects in
- Nature–Nurture
- Noise Versus Music
- Observation Techniques, Ethnomusicology
- Pattern
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- Pitch Perception: Development
- Pitch, Absolute
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- Scale
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- Motor Skill Acquisition
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- Musicking
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- Notation
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- Performance
- Practice
- School Bands and Choirs
- Sight Reading
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- Singing, Pedagogy of
- Singing, Psychology of
- Statistical Learning
- Theory
- Training
- Voice and Musical Identity
- Voice Leading, Rules of
- Neuroscience
- Achievement, Academic
- Applied Musicology
- Arousal, Science of
- Attention
- Brain Specialization for Music
- Brain Waves
- Cognition and Learning, Childhood
- Cognitive Constraints
- Critical Period
- Entrainment
- Episodic Memory
- Facial Expression
- Fetal Development
- Genetic Basis of Music
- Hemispheric Asymmetry
- Hormones
- Immune System
- Melodic Intonation Therapy
- Mirror Neurons
- Modularity
- Motivation
- Mozart Effect
- Music Exposure, Short-Term Effects of
- Music Training, Long-Term Effects of
- Neural Network Models
- Neurotransmitters
- Parkinson's Disease
- Physiological Responses, Peripheral
- Plasticity
- Prodigy
- Psychoacoustics
- Psychoanalysis
- Second Language Acquisition
- Sleep
- Perception, Memory, and Cognition
- Accent
- Agency
- Auditory Stream Segregation: Applications
- Auditory Stream Segregation: Boundaries
- Background Music
- Circle of Fifths
- Complexity
- Decoding
- Dissociation
- Earworms
- Embodied Cognition
- Executive Function
- Expectancy
- Expressive Timing
- Feedback, Role of
- Fusion
- Gestalt
- Hierarchical Organization
- Implication–Realization
- Implicit Learning
- Individual Differences
- Memory
- Meter
- Modulation
- Multimodality
- Music Cognition
- Perception
- Priming
- Rhythm
- Roughness and Beats
- Semiotics
- Similarity, Melodic
- Structure
- Synaesthesia
- Tactus and Pulse
- Tempo
- Theory of Mind
- Timing
- Transfer Effects
- Politics, Economics, and Law
- Therapy, Health, and Well-Being
- Aging
- Autism Spectrum Disorder
- Belonging
- Cancer
- Communicative Musicality
- Cooperation
- Dementia
- Health and Wellness
- Health Care
- Health, Public
- Intimacy and Affiliation
- Language Disorders
- Meditation
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- Music Therapy
- Music Therapy Methods
- Music Therapy Models
- Musical Disorders
- Pain
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- Relaxation
- Rhythmic Auditory Entrainment
- Self-Esteem
- Social Bonding
- Social Exclusion
- Special Needs
- Speech Therapy
- Spirituality
- Stroke
- Suicide
- Synchronization
- Teamwork, Music Education and
- Trauma, Post-Traumatic Stress Disorder
- Vibrotactile Devices for the Deaf
- Well-Being
- Workout Playlists and Portable Devices
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