Brain and Music

Informationen zum Autor Stefan Koelsch is Professor of Music Psychology at the Freie University Berlin. He is a former post-doctoral research fellow at Harvard Medical School, and led an independent Junior Research Group at the Max Planck Institute for Human Cognitive and Brain Sciences in Leipzig. His main areas of research are neurocognition of music, music and emotion, and music therapy. Klappentext A comprehensive survey of the latest neuroscientific research into the effects of music on the brain Covers a variety of topics fundamental for music perception, including musical syntax, musical semantics, music and action, music and emotion Includes general introductory chapters to engage a broad readership, as well as a wealth of detailed research material for experts Offers the most empirical (and most systematic) work on the topics of neural correlates of musical syntax and musical semantics Integrates research from different domains (such as music, language, action and emotion both theoretically and empirically, to create a comprehensive theory of music psychology Zusammenfassung Brain and Music explores how, when, and where in the brain music is processed. The book is the first one to cover all core aspects of music perception with regards to their neural correlates. Inhaltsverzeichnis Preface ixPart I Introductory Chapters 11 Ear and Hearing 31.1 The ear 31.2 Auditory brainstem and thalamus 61.3 Place and time information 81.4 Beats, roughness, consonance and dissonance 91.5 Acoustical equivalency of timbre and phoneme 111.6 Auditory cortex 122 Music-theoretical Background 172.1 How major keys are related 172.2 The basic in-key functions in major 202.3 Chord inversions and Neapolitan sixth chords 212.4 Secondary dominants and double dominants 213 Perception of Pitch and Harmony 233.1 Context-dependent representation of pitch 233.2 The representation of key-relatedness 263.3 The developing and changing sense of key 293.4 The representation of chord-functions 303.5 Hierarchy of harmonic stability 313.6 Musical expectancies 353.7 Chord sequence paradigms 364 From Electric Brain Activity to ERPs and ERFs 404.1 Electro-encephalography (EEG) 434.1.1 The 10-20 system 434.1.2 Referencing 454.2 Obtaining event-related brain potentials (ERPs) 454.3 Magnetoencephalography (MEG) 484.3.1 Forward solution and inverse problem 494.3.2 Comparison between MEG and EEG 495 ERP Components 515.1 Auditory P1, N1, P2 515.2 Frequency-following response (FFR) 535.3 Mismatch negativity 545.3.1 MMN in neonates 575.3.2 MMN and music 575.4 N2b and P300 595.5 ERP-correlates of language processing 595.5.1 Semantic processes: N400 605.5.2 Syntactic processes: (E)LAN and P600 635.5.3 Prosodic processes: Closure Positive Shift 676 A Brief Historical Account of ERP Studies of Music Processing 706.1 The beginnings: Studies with melodic stimuli 706.2 Studies with chords 746.3 MMN studies 756.4 Processing of musical meaning 766.5 Processing of musical phrase boundaries 776.6 Music and action 777 Functional Neuroimaging Methods: fMRI and PET 797.1 Analysis of fMRI data 817.2 Sparse temporal sampling in fMRI 847.3 Interleaved silent steady state fMRI 857.4 'Activation' vs. 'activity change' 85Part II Towards a New Theory of Music Psychology 878 Music Perception: A Generative Framework 899 Musical Syntax 989.1 What is musical syntax? 989.2 Cognitive processes 1029.3 The early right anterior negativity (ERAN) 1099.3.1 The problem of confounding acoustics and possible solutions 1139.3.2 Effects of task-relevance 1209.3.3 Polyphonic stimuli 1219.3.4 Latency of the ERAN 1279.3.5 Melodies 1279.3.6 Lateralization of the ERAN 1299.4 Neuroanatomical correlates 1319.5 Processing of acoustic vs. music-syntactic irregularities 1339.6 Interactions between music- and language-syntactic processing...

Auteur

Stefan Koelsch is Professor of Music Psychology at the Freie University Berlin. He is a former post-doctoral research fellow at Harvard Medical School, and led an independent Junior Research Group at the Max Planck Institute for Human Cognitive and Brain Sciences in Leipzig. His main areas of research are neurocognition of music, music and emotion, and music therapy.

Texte du rabat

A comprehensive survey of the latest neuroscientific research into the effects of music on the brain Covers a variety of topics fundamental for music perception, including musical syntax, musical semantics, music and action, music and emotion Includes general introductory chapters to engage a broad readership, as well as a wealth of detailed research material for experts Offers the most empirical (and most systematic) work on the topics of neural correlates of musical syntax and musical semantics Integrates research from different domains (such as music, language, action and emotion both theoretically and empirically, to create a comprehensive theory of music psychology

Résumé
Brain and Music explores how, when, and where in the brain music is processed. The book is the first one to cover all core aspects of music perception with regards to their neural correlates.

Contenu

Preface ix Part I Introductory Chapters 1

1 Ear and Hearing 3

1.1 The ear 3

1.2 Auditory brainstem and thalamus 6

1.3 Place and time information 8

1.4 Beats, roughness, consonance and dissonance 9

1.5 Acoustical equivalency of timbre and phoneme 11

1.6 Auditory cortex 12

2 Music-theoretical Background 17

2.1 How major keys are related 17

2.2 The basic in-key functions in major 20

2.3 Chord inversions and Neapolitan sixth chords 21

2.4 Secondary dominants and double dominants 21

3 Perception of Pitch and Harmony 23

3.1 Context-dependent representation of pitch 23

3.2 The representation of key-relatedness 26

3.3 The developing and changing sense of key 29

3.4 The representation of chord-functions 30

3.5 Hierarchy of harmonic stability 31

3.6 Musical expectancies 35

3.7 Chord sequence paradigms 36

4 From Electric Brain Activity to ERPs and ERFs 40

4.1 Electro-encephalography (EEG) 43

4.1.1 The 10-20 system 43

4.1.2 Referencing 45

4.2 Obtaining event-related brain potentials (ERPs) 45

4.3 Magnetoencephalography (MEG) 48

4.3.1 Forward solution and inverse problem 49

4.3.2 Comparison between MEG and EEG 49

5 ERP Components 51

5.1 Auditory P1, N1, P2 51

5.2 Frequency-following response (FFR) 53

5.3 Mismatch negativity 54

5.3.1 MMN in neonates 57

5.3.2 MMN and music 57

5.4 N2b and P300 59

5.5 ERP-correlates of language processing 59

5.5.1 Semantic processes: N400 60

5.5.2 Syntactic processes: (E)LAN and P600 63

5.5.3 Prosodic processes: Closure Positive Shift 67

6 A Brief Historical Account of ERP Studies of Music Processing 70

6.1 The beginnings: Studies with melodic stimuli 70

6.2 Studies with chords 74

6.3 MMN studies 75

6.4 Processing of musical meaning 76

6.5 Processing of musical phrase boundaries 77

6.6 Music and action 77

7 Functional Neuroimaging Methods: fMRI and PET 79

7.1 Analysis of fMRI data 81

7.2 Sparse temporal sampling in fMRI 84

7.3 Interleaved silent steady state fMRI 85

7.4 'Activation' vs. 'activity change' 85

Part II Towards a New Theory of Music Psychology 87

8 Music Perception: A Generative Framework 89

9 Musical Syntax 98

9.1 What is musical syntax? 98

9.2 Cognitive processes 102

9.3 The early right anterior negativity (ERAN) 109

9.3.1 The problem of confounding acoustics and possible solutions 113

9.3.2 Effects of task-relevance 120

9.3.3 Polyphonic stimuli 121

9.3.4 Latency of the ERAN 127

9.3.5 Melodies 127

9.3.6 Lateralization of the ERAN 129

9.4 Neuroanatomical correlates 131

9.5 Processing of acoustic vs. music-syntactic irregularities 133

9.6 Interactions between music- and language-syntactic processing 138

9.…