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0 (hodnocen0 x )

BK

First edition

Chichester : Wiley-Blackwell, 2013

xiii, 308 stran : ilustrace ; 25 cm

ISBN 978-0-470-68339-2 (brožováno)

Obsahuje bibliografii na stranách 267-301, bibliografické odkazy a rejstřík

001479430

Contents // 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 // vi Contents // 4 From Electric Brain Activity to ERPs and ERFs 40 // 4.1 Electro-encephalography (EEC) 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 PI, 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 // Contents vii // 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 // 9.6.1 The Syntactic Equivalence Hypothesis 145 // 9.7 Attention and automaticity 147 // 9.8 Effects of musical training 149 // 9.9 Development 151 // 10 Musical Semantics

156 // 10.1 What is musical semantics? 156 // 10.2 Extra-musical meaning 158 // 10.2.1 Iconic musical meaning 158 // 10.2.2 Indexical musical meaning 159 // Excursion: Decoding of intentions during musine listening 161 // 10.2.3 Symbolic musical meaning 162 // 10.3 Extra-musical meaning and the N400 163 // 10.4 Intra-musical meaning 170 // Excursion: Posterior temporal cortex and processing // of meaning 166 // 10.4.1 Intra-musical meaning and the N5 171 // 10.5 Musicogenic meaning 177 // 10.5.1 Physical 177 // 10.5.2 Emotional 179 // 10.5.3 Personal 180 // 10.6 Musical semantics 181 // 10.6.1 Neural correlates 181 // 10.6.2 Propositional semantics 182 // 10.6.3 Communication vs. expression 182 // 10.6.4 Meaning emerging from large-scale relations 183 // 10.6.5 Further theoretical accounts 184 // 11 Music and Action 186 // 11.1 Perception-action mediation 186 // 11.2 ERP correlates of music production 189 // viii Contents // 12 Emotion 203 // 12.1 What are ‘musical emotions’? 204 // 12.2 Emotional responses to music - underlying mechanisms 207 // 12.3 From social contact to spirituality - The Seven Cs 208 // 12.4 Emotional responses to music - underlying principles 212 // 12.5 Musical expectancies and emotional responses 216 // 12.5.1 The tension-arch 218 // 12.6 Limbic and paralimbic correlates of music-evoked emotions 219 // 12.6.1 Major-minor and happy-sad music 225 // 12.6.2 Music-evoked dopaminergic neural activity 226 // 12.6.3 Music and the hippocampus 227 // 12.6.4

Parahippocampal gyrus 231 // 12.6.5 A network comprising hippocampus, // parahippocampal gyrus, and temporal poles 232 // 12.6.6 Effects of music on insular and anterior cingulate // cortex activity 232 // 12.7 Electrophysiological effects of music-evoked emotions 233 // 12.8 Time course of emotion 234 // 12.9 Salutary effects of music making 235 // 13 Concluding Remarks and Summary 241 // 13.1 Music and language 241 // 13.2 The music-language continuum 244 // 13.3 Summary of the theory 249 // 13.4 Summary of open questions 258 // References 267 // Index 303