Brain and Music 1st Edition by Stefan Koelsch – Ebook PDF Instant Download/Delivery: 0470683406, 9780470683408
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Product details:
ISBN 10: 0470683406
ISBN 13: 9780470683408
Author: Stefan Koelsch
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
Table of contents:
Dưới đây là mục lục bạn cung cấp được trình bày lại, đã bỏ số trang và giữ đúng cấu trúc rõ ràng:
Part I: Introductory Chapters
1. Ear and Hearing
1.1 The ear
1.2 Auditory brainstem and thalamus
1.3 Place and time information
1.4 Beats, roughness, consonance and dissonance
1.5 Acoustical equivalency of timbre and phoneme
1.6 Auditory cortex
2. Music-Theoretical Background
2.1 How major keys are related
2.2 The basic in-key functions in major
2.3 Chord inversions and Neapolitan sixth chords
2.4 Secondary dominants and double dominants
3. Perception of Pitch and Harmony
3.1 Context-dependent representation of pitch
3.2 The representation of key-relatedness
3.3 The developing and changing sense of key
3.4 The representation of chord-functions
3.5 Hierarchy of harmonic stability
3.6 Musical expectancies
3.7 Chord sequence paradigms
4. From Electric Brain Activity to ERPs and ERFs
4.1 Electro-encephalography (EEG)
4.1.1 The 10–20 system
4.1.2 Referencing
4.2 Obtaining event-related brain potentials (ERPs)
4.3 Magnetoencephalography (MEG)
4.3.1 Forward solution and inverse problem
4.3.2 Comparison between MEG and EEG
5. ERP Components
5.1 Auditory P1, N1, P2
5.2 Frequency-following response (FFR)
5.3 Mismatch negativity
5.3.1 MMN in neonates
5.3.2 MMN and music
5.4 N2b and P300
5.5 ERP-correlates of language processing
5.5.1 Semantic processes: N400
5.5.2 Syntactic processes: (E)LAN and P600
5.5.3 Prosodic processes: Closure Positive Shift
6. A Brief Historical Account of ERP Studies of Music Processing
6.1 The beginnings: Studies with melodic stimuli
6.2 Studies with chords
6.3 MMN studies
6.4 Processing of musical meaning
6.5 Processing of musical phrase boundaries
6.6 Music and action
7. Functional Neuroimaging Methods: fMRI and PET
7.1 Analysis of fMRI data
7.2 Sparse temporal sampling in fMRI
7.3 Interleaved silent steady state fMRI
7.4 ‘Activation’ vs. ‘activity change’
Part II: Towards a New Theory of Music Psychology
8. Music Perception: A Generative Framework
9. Musical Syntax
9.1 What is musical syntax?
9.2 Cognitive processes
9.3 The early right anterior negativity (ERAN)
9.3.1 The problem of confounding acoustics and possible solutions
9.3.2 Effects of task-relevance
9.3.3 Polyphonic stimuli
9.3.4 Latency of the ERAN
9.3.5 Melodies
9.3.6 Lateralization of the ERAN
9.4 Neuroanatomical correlates
9.5 Processing of acoustic vs. music-syntactic irregularities
9.6 Interactions between music- and language-syntactic processing
9.6.1 The Syntactic Equivalence Hypothesis
9.7 Attention and automaticity
9.8 Effects of musical training
9.9 Development
10. Musical Semantics
10.1 What is musical semantics?
10.2 Extra-musical meaning
10.2.1 Iconic musical meaning
10.2.2 Indexical musical meaning
Excursion: Decoding of intentions during music listening
10.2.3 Symbolic musical meaning
10.3 Extra-musical meaning and the N400
10.4 Intra-musical meaning
Excursion: Posterior temporal cortex and processing of meaning
10.4.1 Intra-musical meaning and the N5
10.5 Musicogenic meaning
10.5.1 Physical
10.5.2 Emotional
10.5.3 Personal
10.6 Musical semantics
10.6.1 Neural correlates
10.6.2 Propositional semantics
10.6.3 Communication vs. expression
10.6.4 Meaning emerging from large-scale relations
10.6.5 Further theoretical accounts
11. Music and Action
11.1 Perception–action mediation
11.2 ERP correlates of music production
12. Emotion
12.1 What are ‘musical emotions’?
12.2 Emotional responses to music – underlying mechanisms
12.3 From social contact to spirituality – The Seven Cs
12.4 Emotional responses to music – underlying principles
12.5 Musical expectancies and emotional responses
12.5.1 The tension-arch
12.6 Limbic and paralimbic correlates of music-evoked emotions
12.6.1 Major–minor and happy–sad music
12.6.2 Music-evoked dopaminergic neural activity
12.6.3 Music and the hippocampus
12.6.4 Parahippocampal gyrus
12.6.5 A network comprising hippocampus, parahippocampal gyrus, and temporal poles
12.6.6 Effects of music on insular and anterior cingulate cortex activity
12.7 Electrophysiological effects of music-evoked emotions
12.8 Time course of emotion
12.9 Salutary effects of music making
13. Concluding Remarks and Summary
13.1 Music and language
13.2 The music-language continuum
13.3 Summary of the theory
13.4 Summary of open questions
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Tags: Stefan Koelsch, Brain, Music