Podcast appearances and mentions of Isabelle Peretz

Links For The Occult Rejectshttps://linktr.ee/theoccultrejectsOccult Research Institutehttps://www.occultresearchinstitute.org/Substackhttps://substack.com/@theoccultrejects?r=7auau0&utm_campaign=profile&utm_medium=profile-pageCash Apphttps://cash.app/$theoccultrejectsVenmo@TheOccultRejectsBuy Me A Coffeebuymeacoffee.com/TheOccultRejectsPatreonhttps://www.patreon.com/TheOccultRejectsPart 1: The Road of RhythmPart 1 focuses on the drum as an ancient technology of altered consciousness. The argument is not that every beat causes trance, or that neuroscience has proven spirits. The stronger argument is that rhythm enters the human organism through hearing, motor prediction, breath, movement, attention, emotion, expectation, culture, and social synchrony. The drum becomes powerful when sound, body, group, ritual frame, and meaning converge. These sources support the archaeology, neuroscience, EEG research, shamanic studies, possession studies, Indigenous and culturally specific drum traditions, ritual theory, placebo and meaning-response research, ceremonial magic, and modern witchcraft material used in the episode.Core Academic and Scientific SourcesHuels, Emma R., Hyoungkyu Kim, UnCheol Lee, Tirsa Bel-Bahar, Ana V. Colmenero, Alexandra Nelson, Stefanie Blain-Moraes, George A. Mashour, and Richard E. Harris. “Neural Correlates of the Shamanic State of Consciousness.” Frontiers in Human Neuroscience 15 (2021): 610466. Use for the strongest modern EEG anchor. This study used high-density EEG with shamanic practitioners and controls during rest, shamanic drumming, and classical music listening. It assessed altered-state reports alongside brain measures such as power, connectivity, signal diversity, and criticality. Use carefully: the study does not prove spirits or show that drumming mechanically causes trance in everyone. It supports the more careful claim that trained practitioners entering shamanic states with drumming show measurable brain-state differences.Gordon, Yoel, Golan Karvat, Noa Dagan, and Ayelet N. Landau. “Neural Tracking at Theta Predicts Drumming-Induced Altered States of Consciousness.” Scientific Reports 16, no. 1 (2026): Article 10204. Use for the strongest updated drumming/theta/neural-tracking source. This study tested drumming at theta, delta, and alpha-rate rhythms while recording EEG, and found that stronger rhythmic neural tracking at theta was linked to stronger altered-experience reports. Use carefully: this does not mean theta equals the spirit world or that one frequency opens a portal. The serious point is that altered experience may depend partly on how strongly the nervous system tracks rhythmic stimulation.Aparicio-Terrés, R., et al. “The Neurobiology of Altered States of Consciousness Induced by Drumming and Other Rhythmic Sound Patterns.” Annals of the New York Academy of Sciences, 2025. Use for the newer review literature showing that rhythmic sound is now a serious altered-consciousness research topic. This supports the opening claim that modern academia is examining drumming, rhythmic sound, absorption, relaxation, cognition, and neural activity without reducing the subject to one simple “trance frequency.” The review is especially useful for framing the field as promising but still complex.Neher, Andrew. “Auditory Driving Observed with Scalp Electrodes in Normal Subjects.” Electroencephalography and Clinical Neurophysiology 13 (1961): 449–451. Use for the historical bridge between repetitive sound, EEG, auditory driving, and early scientific interest in rhythmic stimulation.Neher, Andrew. “A Physiological Explanation of Unusual Behavior in Ceremonies Involving Drums.” Human Biology 34, no. 2 (1962): 151–160. Use carefully. This is useful as an early attempt to connect ceremonial drumming and physiology, but it should be balanced with Rouget because the “drum simply causes trance” argument is too mechanical.Maurer, R., V. K. Kumar, L. Woodside, and R. J. Pekala. “Phenomenological Experience in Response to Monotonous Drumming and Hypnotizability.” American Journal of Clinical Hypnosis 40, no. 2 (1997): 130–145. Use for monotonous drumming, subjective altered experience, imagery, absorption, and hypnotizability.Maxfield, Melinda C. “Effects of Rhythmic Drumming on EEG and Subjective Experience.” PhD diss., Institute of Transpersonal Psychology, 1990. Use as older supporting context on drumming, EEG, imagery, body-image changes, and subjective altered experience. Do not make this the main scientific proof; use it as background.Nozaradan, Sylvie, Isabelle Peretz, and André Mouraux. “Tagging the Neuronal Entrainment to Beat and Meter.” The Journal of Neuroscience 31, no. 28 (2011): 10234–10240. Use for EEG evidence that the brain can track beat and meter. This supports the claim that the brain does not merely hear rhythm as background sound; it can represent rhythmic structure in measurable ways.Nozaradan, Sylvie. “Exploring How Musical Rhythm Entrains Brain Activity with Electroencephalogram Frequency-Tagging.” Philosophical Transactions of the Royal Society B 369, no. 1658 (2014). Use as broader rhythm/EEG entrainment support. This helps explain frequency-tagging, beat tracking, meter, neural entrainment, and the measurable relationship between rhythmic structure and brain activity.Thaut, Michael H., Gerald C. McIntosh, and Volker Hoemberg. “Neurobiological Foundations of Neurologic Music Therapy: Rhythmic Entrainment and the Motor System.” Frontiers in Psychology 5 (2015). Use for rhythm as motor-system timing information. This supports the claim that a beat can become bodily instruction, not just sound for the ear. Especially useful when discussing rhythmic auditory stimulation, motor planning, gait, entrainment, and the auditory-motor bridge.Ross, Jessica M., John R. Iversen, and Ramesh Balasubramaniam. “Time Perception for Musical Rhythms: Sensorimotor Perspectives on Entrainment, Simulation, and Prediction.” 2022. Use for rhythm, timing, prediction, sensorimotor entrainment, and the way musical rhythm interacts with time perception.Hove, Michael J., and Jane L. Risen. “It's All in the Timing: Interpersonal Synchrony Increases Affiliation.” Social Cognition 27, no. 6 (2009): 949–960. Use for synchrony and social bonding. This helps support the group-body argument: moving or acting in time with others can increase affiliation.Wiltermuth, Scott S., and Chip Heath. “Synchrony and Cooperation.” Psychological Science 20, no. 1 (2009): 1–5. Use for the claim that synchronized movement can increase cooperation and attachment among participants.Tarr, Bronwyn, Jacques Launay, and Robin I. M. Dunbar. “Music and Social Bonding: ‘Self-Other' Merging and Neurohormonal Mechanisms.” Frontiers in Psychology 5 (2014): 1096. Use for music, synchrony, bonding, endorphin/social mechanisms, and why group rhythm can feel like more than private listening.Fancourt, Daisy, Rosie Perkins, Sara Ascenso, Louise Atkins, Fatima Kilfeather, and Aaron Williamon. “Effects of Group Drumming Interventions on Anxiety, Depression, Social Resilience and Inflammatory Immune Response among Mental Health Service Users.” PLOS ONE 11, no. 3 (2016): e0151136. Use for modern group-drumming research showing psychological and physiological effects, including anxiety, depression, social resilience, wellbeing, and inflammatory immune response. Use carefully: this does not make group drumming a cure-all. It supports the more grounded claim that embodied rhythm and group participation can affect mood, social connection, and body chemistry.Bittman, Barry B., et al. “Composite Effects of Group Drumming Music Therapy on Modulation of Neuroendocrine-Immune Parameters in Normal Subjects.” Alternative Therapies in Health and Medicine 7, no. 1 (2001): 38–47. Use as older supporting material on group drumming and neuroendocrine-immune measures. Keep secondary. Fancourt is cleaner for the main script body.Archaeology and Deep History of DrumsLawergren, Bo. “Neolithic Drums in China.” In Music Archaeology in China. 2006. Use for clay drums in Neolithic China and the deep-history claim that drums are not just poetic symbols of antiquity. They appear in the archaeological record as instruments tied to early sound-making, ceremony, and social order.Both, Arnd Adje. “Music Archaeology: Some Methodological and Theoretical Considerations.” Use as general support for why ancient instruments should be treated as ritual and social evidence, not merely decorative objects.Anthropology, Ethnomusicology, Ritual, and TranceRouget, Gilbert. Music and Trance: A Theory of the Relations Between Music and Possession. Translated by Brunhilde Biebuyck. Chicago: University of Chicago Press, 1985. Essential source. Use for the caution that music does not mechanically or universally cause trance. Rouget helps keep the argument academically serious by emphasizing culture, ritual frame, meaning, and expectation.Becker, Judith. Deep Listeners: MAlso want to remind people about the website, if you're into reading we have tons of information by multiple contributors, and we got t-shirts up on the site if you're interested. Fun fact, the art is all based on the eyeball. A

David Abiker reçoit Isabelle Peretz, titulaire de la chaire de recherche Neurocognition de la musique à l'Université de Montréal. C'est une sommité mondiale dans le domaine de la recherche sur le lien entre le cerveau et la musique, et elle partage avec les auditeurs les découvertes fascinantes de ses travaux. Elle publie “Soigner avec la musique - nouvelles des neurosciences” aux Éditions Odile Jacob Tout d'abord, Isabelle Peretz explique ce qu'est le « cerveau musical », cet ensemble de modules et de systèmes dans le cerveau qui permettent d'apprécier et de produire de la musique. Elle souligne que ces capacités musicales semblent innées chez l'être humain, avec des études montrant que les nouveau-nés réagissent déjà à la musique classique.Mais le cœur de cet entretien porte sur l'utilisation de la musique comme outil thérapeutique, notamment pour les patients atteints de la maladie d'Alzheimer. Isabelle Peretz décrit avec passion comment la musique, et en particulier les chansons de leur jeunesse, peuvent permettre à ces patients de recouvrer temporairement leur identité et leurs souvenirs autobiographiques. La musique emprunte en effet des voies privilégiées dans le cerveau pour atteindre ces mémoires enfouies, passant par le système limbique des émotions.L'auditeur est fasciné d'apprendre que la simple écoute ou le fait de chanter en groupe peuvent améliorer significativement le bien-être des patients Alzheimer sur plusieurs mois. Isabelle Peretz explique que la musique a un effet rassembleur et de fusion avec les autres, permettant de transcender les frontières individuelles.Mais les bienfaits de la musique ne s'arrêtent pas là. L'invitée de David Abiker évoque également son utilisation prometteuse pour les patients atteints de la maladie de Parkinson. Là encore, le lien entre le rythme musical et l'activation des zones motrices du cerveau semble offrir de nouvelles pistes thérapeutiques.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Quels sont les processus cognitifs en jeu dans les activités musicales ? Savez vous que la musique et le langage étaient traités dans des parties du cerveau différentes ? existe-il un « cerveau musical » ? Comment la musique peut-elle se révéler être une alliée précieuse en ces temps de grand stress ? Isabelle Peretz est Docteure en neuropsychologie, Professeure à l'Université de Montréal en neuropsychologie de la musique, fondatrice du BRAMS (Laboratoire international de recherche sur le cerveau, la musique et le son). Son travail, qui a fondamentalement changé notre compréhension de la façon dont le cerveau analyse et traite la musique, lui a valu de nombreux prix. Merci pour votre écoute Tendances Première, c'est également en direct tous les jours de la semaine de 10h à 11h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Tendances Première sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/11090 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Evelyne Charuest nous fait découvrir le balado Francophones oubliés et le documentaire Edward Hopper, peintre de la solitude; Jean-Luc Brassard présente le portrait de l'alpiniste Cesare Maestri et l'actualité du Vendée Globe; le vétérinaire Sébastien Kfoury revient sur la vague d'adoption d'animaux domestiques au Québec; la Dre Caroline Quach-Thanh fait le point sur la situation de la COVID-19; la spécialiste du cerveau musical Isabelle Peretz s'intéresse à l'effet de l'écoute de la musique sur notre bien-être durant la pandémie; l'autrice Kim Thùy commente sa participation à la 3e édition de La Nuit de la lecture; et Florent Vollant nous fait part de souvenirs de spectacles.

What does your brain look like… on music? Have you ever wondered why music makes you feel the way it does, or what exactly is going on in your brain when you hear a bangin tune that you vibe with? How about playing music… what does that do? And are there differences between the brains of musicians and non-musicians? To answer all of these questions and more, Kate and Matt are joined by James aka singer/songwriter known as Catseye Parish. This episode’s listener question is about dogs… can they see in the dark?If you want to find more of those smooth Catseye Parish tunes, you can find them on insta (https://www.instagram.com/catseyeparish/), facebook (https://www.facebook.com/catseyeparish), youtube (https://www.youtube.com/channel/UC5d0wuX1Sfrue-oXoFa7m7A) or spotify (https://open.spotify.com/artist/6tKQ0ggFdSybTYqcu0zubX?si=SFJyvvV4RMCsgni0OCds6Q). As always, you can follow Curiosity Killed the Rat on twitter (https://twitter.com/CuriosityRat), Insta (https://www.instagram.com/curiosityrat/), and Facebook (https://www.facebook.com/curiosityrat/), and email in your listener questions to curiosityrat@gmail.comReferences:https://www.nature.com/articles/nature18635https://www.sciencemag.org/news/2016/07/your-culture-not-your-biology-shapes-your-musical-taste#https://www.nature.com/articles/nrn3666https://www.frontiersin.org/articles/10.3389/fnhum.2015.00518/fullhttps://www.researchgate.net/profile/Isabelle_Peretz/publication/232497603_Listen_to_the_brain_A_biological_perspective_on_musical_emotions/links/55b10db208ae9289a084ab15.pdfhttps://www.mitpressjournals.org/doi/abs/10.1162/jocn.2003.15.5.673https://onlinelibrary.wiley.com/doi/full/10.1002/hbm.20180https://onlinelibrary.wiley.com/doi/full/10.1002/hbm.20390https://link.springer.com/article/10.1007/s00415-010-5468-9https://www.sciencedirect.com/science/article/pii/S0006899315005442https://www.scientificamerican.com/article/why-does-music-make-us-fe/https://pubmed.ncbi.nlm.nih.gov/25725908/https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3741536/https://www.youtube.com/watch?v=U4k5JFmahVYhttps://www.youtube.com/watch?v=MZFFwy5fwYIhttps://www.youtube.com/watch?v=R0JKCYZ8hng

Une équipe de chercheurs, composée de Québécois, a démontré, pour la première fois scientifiquement, que la musique était culturellement universelle. Comment ont-ils fait? Qu’est-ce que ça change au juste? Avec Véronique Morin et Charles Trahan

Les mises en gardes sévères d’un neurologue allemand sur les effets dévastateurs des écrans chez les plus petits. Avec Charles Trahan

Isabelle Peretz examines what congenital amusia - the condition where one is amusical, lacking such abilities as pitch or rhythm recognition - can tell us about the neurobiological origins of musical ability in humans. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32445]

Isabelle Peretz examines what congenital amusia - the condition where one is amusical, lacking such abilities as pitch or rhythm recognition - can tell us about the neurobiological origins of musical ability in humans. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32445]

Isabelle Peretz examines what congenital amusia - the condition where one is amusical, lacking such abilities as pitch or rhythm recognition - can tell us about the neurobiological origins of musical ability in humans. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32445]

Isabelle Peretz examines what congenital amusia - the condition where one is amusical, lacking such abilities as pitch or rhythm recognition - can tell us about the neurobiological origins of musical ability in humans. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32445]

Isabelle Peretz examines what congenital amusia - the condition where one is amusical, lacking such abilities as pitch or rhythm recognition - can tell us about the neurobiological origins of musical ability in humans. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32445]

Isabelle Peretz examines what congenital amusia - the condition where one is amusical, lacking such abilities as pitch or rhythm recognition - can tell us about the neurobiological origins of musical ability in humans. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32445]

Isabelle Peretz examines what congenital amusia - the condition where one is amusical, lacking such abilities as pitch or rhythm recognition - can tell us about the neurobiological origins of musical ability in humans. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32445]

Isabelle Peretz examines what congenital amusia - the condition where one is amusical, lacking such abilities as pitch or rhythm recognition - can tell us about the neurobiological origins of musical ability in humans. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32445]

Isabelle Peretz examines what congenital amusia - the condition where one is amusical, lacking such abilities as pitch or rhythm recognition - can tell us about the neurobiological origins of musical ability in humans. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32445]

Isabelle Peretz examines what congenital amusia - the condition where one is amusical, lacking such abilities as pitch or rhythm recognition - can tell us about the neurobiological origins of musical ability in humans. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32445]

Pour cette nouvelle saison, nous accueillons notre collaboratrice à la culture, Eugénie Lépine-Blondeau et on passe notre premier dimanche avec Jim Corcoran. Aussi, Aventure et nature avec Jean-Luc Brassard:Faire de la voile à Newport; Chronique biodiversité avec Mario Cyr:La marée rouge en Floride; Histoire avec Evelyne Ferron:Les découvertes archéologiques de l'été; Le cerveau musical:Entrevue avec Isabelle Peretz; Les grands classiques avec Olivier Kemeid:De l'inégalité parmi les sociétés; Amour des mots avec Christian Vézina:Patère, une nouvelle de Patrick Nicoll.

Pour cette nouvelle saison, nous accueillons notre collaboratrice à la culture, Eugénie Lépine-Blondeau et on passe notre premier dimanche avec Jim Corcoran. Aussi, Aventure et nature avec Jean-Luc Brassard:Faire de la voile à Newport; Chronique biodiversité avec Mario Cyr:La marée rouge en Floride; Histoire avec Evelyne Ferron:Les découvertes archéologiques de l'été; Le cerveau musical:Entrevue avec Isabelle Peretz; Les grands classiques avec Olivier Kemeid:De l'inégalité parmi les sociétés; Amour des mots avec Christian Vézina:Patère, une nouvelle de Patrick Nicoll.

The human mind is one of the features that makes our species unusual, and any narrative of our origins must include explanations for how our mental facilities were generated by genetic and cultural evolutionary processes. Comparative studies with the minds of other species and direct studies of how the typical human brain creates the mind are valuable approaches. However, many useful clues can also be gleaned from studying extraordinary variations of the human mind. This Symposium brings together experts who have pursued in-depth explorations of some of these variations. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32438]

The human mind is one of the features that makes our species unusual, and any narrative of our origins must include explanations for how our mental facilities were generated by genetic and cultural evolutionary processes. Comparative studies with the minds of other species and direct studies of how the typical human brain creates the mind are valuable approaches. However, many useful clues can also be gleaned from studying extraordinary variations of the human mind. This Symposium brings together experts who have pursued in-depth explorations of some of these variations. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32438]

The human mind is one of the features that makes our species unusual, and any narrative of our origins must include explanations for how our mental facilities were generated by genetic and cultural evolutionary processes. Comparative studies with the minds of other species and direct studies of how the typical human brain creates the mind are valuable approaches. However, many useful clues can also be gleaned from studying extraordinary variations of the human mind. This Symposium brings together experts who have pursued in-depth explorations of some of these variations. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32438]

The human mind is one of the features that makes our species unusual, and any narrative of our origins must include explanations for how our mental facilities were generated by genetic and cultural evolutionary processes. Comparative studies with the minds of other species and direct studies of how the typical human brain creates the mind are valuable approaches. However, many useful clues can also be gleaned from studying extraordinary variations of the human mind. This Symposium brings together experts who have pursued in-depth explorations of some of these variations. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32438]

Questions and answer session for the Extraordinary Variations of the Human Mind symposium. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32448]

Questions and answer session for the Extraordinary Variations of the Human Mind symposium. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32448]

Questions and answer session for the Extraordinary Variations of the Human Mind symposium. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32448]

Questions and answer session for the Extraordinary Variations of the Human Mind symposium. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32448]

Introduction to the Extraordinary Variations of the Human Mind symposium. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32449]

Introduction to the Extraordinary Variations of the Human Mind symposium. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32449]

Introduction to the Extraordinary Variations of the Human Mind symposium. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32449]

Introduction to the Extraordinary Variations of the Human Mind symposium. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 32449]

In this edition of CARTA’s Evolutionary Origins of Art and Aesthetics Series, three world-renowned researchers – Antonio Damasio, Helen Fisher and Isabelle Peretz share their insights into the neural basis of art, creativity, emotions and music and the powerful roles they play in the evolution of the human species. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 16603]

In this edition of CARTA’s Evolutionary Origins of Art and Aesthetics Series, three world-renowned researchers – Antonio Damasio, Helen Fisher and Isabelle Peretz share their insights into the neural basis of art, creativity, emotions and music and the powerful roles they play in the evolution of the human species. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Show ID: 16603]

Renowned researcher Isabelle Peretz shares fascinating insights into the power of music on human emotion. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Arts and Music] [Show ID: 16437]

Renowned researcher Isabelle Peretz shares fascinating insights into the power of music on human emotion. Series: "CARTA - Center for Academic Research and Training in Anthropogeny" [Science] [Arts and Music] [Show ID: 16437]