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Note: Page numbers in italics refer to illustrations or charts.
A1 (primary auditory cortex), 91, 228
A 440, 35
AABA form, 238
Abbie, Andrew Arthur, 210
absolute identification, for microphone types or recording tape, 3
absolute pitch, 149–54
and infants, 228
and melody, 32
and tone deafness, 188
value changes in, 27
abstract representations, 138, 159
Acoustical Society of America, 19
Adam and the Ants, 5
adaptation, 7–8, 101, 147, 256, 258
addiction, 189
additive synthesis, 47
advertising, 9
Aerosmith, 60
affect, 182, 191. See also emotion
African drumming, 72
afuche, 60
“All Along the Watchtower,” 51
“All My Ex’s Live in Texas,” 52
Allman Brothers, 113
“All of Me,” 238
Alzheimer’s disease, 231
ambiguity, in chords, 214–15
American Sign Language (ASL), 130. See also sign language
and cerebellum, 175
and emotion, 87, 167, 189, 231, 260
and expressivity in performance, 211
and mental disorders, 260
responding to stimuli, 91
“Anarchy in the U.K.,” 52
Anderson, Leroy, 231
animals
and categorization, 147
and movement, 174
and music, 31, 43, 74, 92, 97, 264–65
neuroanatomy in, 184
anterior cingulate, 230
antiquity of music, 5–6
anxiety, 184
appearance (physical), 202–3
appearance-reality problems, as motivating theories of categorization, 146–47
appreciation of music, 111
Arab music, 39
area MT (visual cortex), 185
Aristotle, 99, 140, 141, 143, 145, 264
Arlen, Harold, 31
associations with music, 38–39
“As Time Goes By,” 238
The Astonishing Hypothesis (Crick), 179, 181, 188
“At a Darktown Cakewalk,” 58
attack (portion of a musical tone), 49, 53–54. See also steady-state
attention, 78, 81–82, 198, 210, 230–31
audience expertise, 6–7, 210, 220–21
“auditory cheesecake,” 248, 256
auditory cortex, 86, 88–89, 91, 184, 191, 192, 195, 228, 270. See also A1
auditory system
anatomy, 102–3
auditory-codes, 121–22
and neural processing of music, 103–4, 130–31, 191
and perceptual completion, 101
physiology of hearing, 24–25, 28–29
and simultaneous onsets of sounds, 80–81
startle response, 185
augmented fourth (tritone), 13, 33, 74, 229
Austin Lounge Lizards, 149 autism/autism spectrum disorders (ASD), 259–60
avant-garde music, 14
BA44 (Brodmann Area 44), 91, 191
BA47 (Brodmann Area 47), 91, 191
“Ba Ba Black Sheep,” 62–63, 64
babies. See infancy and childhood
Bach, Johann Sebastian, 14, 52, 81, 148, 257
“Back in Your Arms,” 244
Backstreet Boys, 224
Balint’s syndrome, 188
barn owl, 43
Barney the Dinosaur, 236
Baron-Cohen, Simon, 262
baroque music, 35
Barrow, John, 249
bars (bar lines, separating musical measures), 64
basilar membrane, 28–29
“The Battle of Evermore,” 143
Beach Boys, 232
beat, 59, 61–65, 170, 173–75. See also rhythm
“Beat It,” 142
on The Ed Sullivan Show, 204
and EMI, 128
fans of, 243
artistic followers of, 5
influence on author, 204–5
musical significance of, 51
timbral qualities in albums, 2, 107, 156
use of expectations, 112–13, 117–18
use of keys, 73
use of synthesizers, 49
“Be-Bop-A-Lula,” 157
Beethoven, Ludwig van, 2, 68, 118–19, 169, 209, 212, 217
Bell, Alexander Graham, 69
Bellugi, Ursula, 178–79, 180, 184, 186, 258–59
Bennett, Max, 213
Berkeley, George (Bishop), 24
Berle, Milton, 58
Bernstein, Leonard, 13, 58, 209, 263
Berry, Chuck, 66
“Bibbidy Bobbidy Boo,” 231
Billboard, 193
binary code, 120
binding problem, 187–88
birds and birdsongs, 264–65
Blacking, John, 257
bling, 253
Blood, Anne, 189
blood flow in brain, and fMRI, 128–29
“Blowin’ in the Wind,” 40
“Blue Danube Waltz,” 43
“Blue Moon,” 239
Blues music, 38, 39, 112, 113, 210, 274
bone flute, 256
bottom-up processing, 103–4, 105
Boothe, Ken, 224
Bouchard, Thomas, 200
bowed instruments, 53
brain. See also specific anatomical structures
computational systems in, 11, 84, 109–10, 133, 146, 147
damage to, 9, 84–85, 87, 184–85
evolution of, 8–9
and mind, 83–84, 92–94, 96–97, 179
musical activity in, 85–86
organization of, 124–25
parallel processing of brains, 88–89
“brainstorming” stage in creativity, 5
Bregman, Albert S., 77, 78, 101
Brendel, Alfred, 209
bridges (song section), 238
Brody, Adrien, 203
“Bron-Yr-Aur,” 143
Brown, James, 258
Brubeck, Dave, 69
Bruckner, Anton, 72
“Bum-Diddle-De-Um-Bum, That’s It!,” 58
Burns, Edward, 151–52
Byrne, David, 244
cabasa, 60
cadence, deceptive, 111–12
call-and-response patterns, 171
Campilongo, Jim, 134
canonical versions of music, 152
Carey, Susan, 95
caring and skills acquisition, 197–98
Carlos, Walter/Wendy, 49
Carpenters (musical duo), 113, 142, 145
Cars (musical group), 50
Cash, Johnny, 245
Castellengo, Michelle, 54
categorization, 140–49, 159–62. See also memory
ad hoc, 161
constructivist theory, 135, 137, 138, 140, 149, 157, 159
and context, 159–61
and evolution, 146–47
exemplar theory, 159, 161–62, 164
and family resemblance, 142
and genres, 239–40
prototypes in categories, 144–45, 147–49, 159–60, 161–62, 229
record-keeping theory, 135, 139, 140, 149, 157, 159, 164
Catero, Fred, 3
Catholic Church, 13
“Cathy’s Clown,” 157
celebrity, 211
cellos, 30
Center for Computer Research in Music and Acoustics (CCRMA), Stanford University, 49, 50
and autism, 259–60
auditory system, 184, 186, 187
effect of music on, 226–27, 263
and emotion, 87, 174–75, 178, 182–84, 187, 191, 260
and expressivity in performance, 210
and listening to music, 86, 91, 191–92
and memory, 61
and mental disorders, 259–60
and meter, 68
and movement, 187
and timing, 174–75, 178, 182, 186
and Williams syndrome, 187, 259–60
cerebral cortex, 263
cerebrum, 174
“Chain Lightning,” 112
charisma of performers, 211, 220
Charles, Ray, 171
Cheap Trick, 5
“cheesecake,” as metaphor for evolution of music faculty, 248–49, 256
children. See infancy and childhood
“China Girl,” 39
Chinese music, 38
Chordettes, 134
chords
and cadence, 111–12
chord progression, 18, 73, 125, 218, 273
and consonance and dissonance, 73–75
and expectations for, 125
and harmony, 273–76
memory for, 218
root of, 214
schemas for, 117
chorus (song section), 238–39
chromatic scale, 36
chunking, 218–20
Churchland, Paul, 4
cingulate gyrus, 230
circle of fifths, 75
Clapton, Eric, 51, 52, 211, 212
clarinets, 46
Clarke, Eric, 67
classical music, 17, 172, 257–58, 263
Clinton, Bill, 207
cochlear nuclei, 86
cognitive development, 260–61
cognitive neuroscience, 95–97, 123–24, 187–88. See also neuroscience
cognitive psychology, 95, 106, 120
Cold Spring Harbor Laboratory, 175–78, 189
color, 22, 24, 25, 115, 144–45, 185
Columbo, John, 224
commisurotomy, 137
composers
and expectations in music, 66, 111, 112
and keys, 72
and meter, 169–70
use of note length, 92
compression, dynamic range, 70
computational systems, in the brain, 11, 84, 109, 133, 146, 147, 172, 191
computers, 84, 88, 120–21, 134–35, 173–74
as metaphor for brain: see brain, computer metaphor
concerts, 71
conditioned head-turning procedure, 224
consciousness, 71, 84, 179, 188
consonance, tonal, 74–75, 227–28, 229
constructive process, 105, 188
constructivist theory of memory, 135–40, 149, 157, 159, 164
Cooder, Ry, 213
Cook, Perry, 61, 112, 149, 154, 174
Copland, Aaron, 263
Copeland, Stewart, 161
corpus collosum, 137, 226, 271
country music, 40
Coupling, J. J., 51
courtship, uses of music in, 252, 267
creativity, 254
Creedence Clearwater Revival, 2, 113, 232
Crick, Francis
author’s introduction to, 181–82
on career in sciences, 179–80, 212
on cognitive neuroscience, 187–88
DNA discovery, 266
on neural connections, 175, 188–89, 192
Crosby, David, 213
cut bell experiments, 53
Cyrano de Bergerac, 202
Dani tribe of New Guinea, 144–45
“Dark Side of the Moon,” 149
Darwinian theory, 8, 247, 249–56, 258, 266
Dave Matthews Band, 243
Davidson, Jane, 194–95
Davis, Miles, 18–19, 112, 118, 211
deafness, 130
decibels, 69–71
declarative knowledge, 38
defining music, 13–14
Depeche Mode, 14
depression, 184
Desain, Peter, 173–74
Descartes, René, 83
The Descent of Man (Darwin), 251
De Vol, Frank, 231
Dhomont, Francis, 14
Diabolus in musica, 13
DiFranco, Ani, 243
digital delay (guitar effect), 108
dissonance, tonal, 74–75, 227–28, 229
divertimenti, 81
Dixieland, 117
“Do Re Mi,” 30
Doors (musical group), 40
dopamine, 11, 123, 189, 190, 191, 198
dorsalateral prefrontal cortex, 91
dorsal cochlear nucleus, 74
dorsal temporal lobes, 164–65
double-basses, 28
“Down by the Seaside,” 143
Down syndrome, 186
drum machines, 172
dualism, 83
Dylan, Bob, 13
dynamic range compression, 69, 70
Eagles (musical group), 60, 73, 106–7
eardrum, 102–3
earplugs, 71
ear worms (stuck song syndrome), 155
echo, 17, 108, 157. See also reverberation
echoic memory, 155
Edelman, Gerald, 61
education, musical, 193–94, 198, 212
EEG (electroencephalograms), 125–26, 154
Ehrenfels, Christian von, 76
“eighties sound” in popular music, 50
“Eine Kleine Nachtmusik,” 170
Einstein, Albert, 22
Elbert, Thomas, 195
electroencephalograms (EEG), 125–26, 154
Emerson, Keith, 49
Emerson, Lake and Palmer, 49
emotion
and amygdala, 87, 91, 189, 231
and cerebellum, 85, 87, 91, 174–75, 178, 182–84, 187, 191
in classical music, 172
as distinguished from moods and traits, 182
effect of music on, 189, 191, 240–41, 267
evolution of, 182–83
and expectations in music, 111
and expertise, 208–10
and groove, 192
and loudness, 71–72
and metrical extraction, 172–73
neural basis for, 87, 91, 108, 189
in Songs for Swinging Lovers, 193
and syncopation, 65
and tempo, 60–61
and timbre, 54
and Williams syndrome (WS), 187
environmental influences on development, 200, 203, 207
epilepsy, 137
equal tempered scale, 52
Ericsson, Anders, 196
Everly Brothers, 157
“Every Breath You Take,” 54, 59
Everybody’s Rockin’ (Neil Young), 146
evolution
adaptation, 7–8, 101, 146, 184, 256, 258
and categorization, 146–47
and cognitive development, 260–63
Darwinian theory, 8, 247, 249–56
of emotions, 182–85
of language, 247–48, 249, 256, 260–61
of musical preferences, 248–57, 260
in other species, 264–65
and sexual selection, 250–56, 258, 265, 267
and social cohesion, 258–60
evolutionary lag, 256
evolutionary psychology, 8
exemplar theory, 159, 161–62, 164
expectations
of learned musical systems, 115
for meter, 169–70
and musical preferences, 235–37
for pitch, 72
and processing music, 104
studying, 125
violations of, 66, 92–93, 113–19, 170, 172–73, 191, 235
experimental design, 96–97
expertise, musical, 211
and changes in brain structures, 195
and expressivity, 208–11
and musical memory, 215–20
and nature/nurture debate, 194, 199–207
and practice, 195–98
study of, 194–95
and talent, 194–96
and technical prowess, 208, 211, 220
failure and success, 207
family resemblance, in categorization theory, 142
Fantasy-Impromptu in C-sharp Minor, op. 66 (Chopin), 106
Fantz, Robert, 224
feature integration and extraction, 103, 115, 133–34
Ferguson, Jim (James Gordon III), 6–7
fetus, and music perception, 223–24
Fifth Symphony of Beethoven, 52, 169
Fifth Symphony of Mahler, 234, 240
first degree (tonic of scale), 39
Five (musical group), 224
five-four (5/4) time, 68–69
five note (pentatonic) scale, 30
flats, 33–34
Fleetwood, Mick, 160
Fleetwood Mac, 2, 160, 170, 207
flux (as a component of timbre), 49, 54
FM synthesis, 50
Fogassi, Leonardo, 266
“A Foggy Day,” 148
folk music, 63
form in music, 108
four-four (4/4) time, 64
Fourth Symphony of Mahler, 234
frequency
A440, 35
fundamental frequencies, 42–43
and grouping, 81–82
of light waves, 24
low frequencies, 24–25
and notes, 30–31
perception of, 28–29
and physiology of hearing, 28–29
range of hearing, 24–25
“Frère Jacques,” 63
Freud, Sigmund, 5
Friston, Karl, 190
frontal lobes
and cerebellum, 189
development of, 230
and expressivity in performance, 210
and listening to music, 86, 190–92
and musical structure, 127
and processing music, 91, 104–5, 130, 184, 190–92, 210
pruning of, 233
functional and effective connectivity analysis, 190
functionalism, 94
functional MRI (fMRI), 129, 163, 189
fundamental frequencies, 42–46
Funeral March, 63
fuzzy boundaries for categories, 161, 240
Gage, Phineas, 85
Galaburda, Albert, 186
Gallese, Vittorio, 266
Gallistel, Randy, 177
games
definition of, 141–42
as a metaphor for understanding musical complexity, 235–37
Gazzaniga, Michael, 137
“Gee, Officer Krupke,” 58
genes/genetics, 186, 195, 199–207, 219, 250–56
genres, 117, 142–43, 145–46, 149, 239
Gestalt psychologists, 76, 97–98, 135, 138, 162
Getz, Stan, 54
Ghost in the Machine (The Police), 114
Gilmour, David, 108
gist memory, 135, 138, 159, 161
glass, breaking, 25
Glass, Philip, 263
glissandos, 39
Gogh, Vincent van, 207
“Goin’ to California,” 143
Goldstein, Avram, 189
Gould, Stephen Jay, 248
Grandin, Temple, 259
Grant, Hugh, 203
Grateful Dead, 243
“Great Gate of Kiev,” 39
“Green River,” 2
Gregory, Richard, 101
Guarneri violin, 48
guitars, 13, 107–8, 142–43, 204–6, 211–15
habituation, 186
Hale, Charles, 58
half notes, 63
Hall & Oates, 50
Handel, George Frideric, 11
Hanks, Tom, 203
“Happy Birthday,” 27, 76, 151, 152
harmony, 18, 42–43, 72, 215, 268
Harrison, George, 244
Hartford, John, 167
Haselton, Martie, 254
Haydn, Joseph, 92–93, 112, 148, 228, 234
Hayes, John, 199
head-turning procedure, conditioned, 224
hearing, 25, 29. See also auditory system
“Heartbreak Hotel,” 157
heavy metal music, 69, 113, 142–43, 169
Helfgott, David, 212
Helmholtz, Hermann von, 77, 79, 101, 105
hemispheric specialization in the brain, 124–125, 226
hemoglobin, and fMRI, 128–29
Hendrix, Jimi, 51, 55, 170, 252
“Here Comes the Sun,” 49
“Here’s That Rainy Day,” 54
Hermann, Bernard, 39
Hertz (measurement), 20
Hertz, Heinrich, 20
hierarchical encoding of music, 39–40, 158, 220
high fidelity, 70
high-hat cymbal, 171
Hintzman, Douglas, 138, 142, 154, 164
hip-hop, 241
hippocampus, 271
and expressivity in performance, 210
and listening to music, 86, 91, 165
and processing of music, 130, 210
Holly, Buddy, 64–66
Honing, Henkjan, 173–74
“Honky Tonk Women,” 40, 169, 191, 263
Hopfield, John, 177
Horowitz, Vladimir, 208
“Hot Fun in the Summertime,” 31
“Hound Dog,” 113
Howe, Michael, 194
Huron, David, 225
hypermnesia, 139
hyperrealities, 108
“Hypnotized,” 170
Idle, Eric, 156
illusions, 98–101, 105, 106, 108
“I’m on Fire,” 171
impressionism/impressionistic art, 215
Indian music, 39
infancy and childhood
attentional abilities, 230–31
auditory systems in, 228
and contour, 228–29
and hemispheric specialization, 125
and language acquisition, 261–62
and musical memory, 35, 223–24, 227
and music lessons, 193–94, 198
and preferences in music, 223–225, 227, 230, 245–46
schema development, 116–17
synesthetic phase of, 127–28
and talent, 195
vocalizations in, 218
inferior colliculus, 43
inferior frontal cortex, 86, 184, 219
inharmonic overtones, 45
instrumentation and categorization, 149
instruments, musical
and attack, 53–54
cognitive requirements for playing, 57
emotional expression, 54
and grouping, 78–79
overtones, 46
timbral fingerprints, 47
intelligence, effect of music on, 225–27
intervals, 31–34, 33, 74–75, 149, 229
inverse Poisson problem, 126
inverted-U hypothesis, 240
Ionian mode (major scales), 36–37, 38, 39, 75, 229–30, 273–74
isomorphic representation of world, 97–98, 120
“I Want You (She’s So Heavy),” 112
Jackendoff, Ray, 77
Jackson, Mahalia, 72
Jackson, Michael, 60, 142, 172
Jackson, Randy, 114
Jagger, Mick, 242
James, Rick, 170
Jobim, Antonio Carlos, 73
“Johnny B. Goode,” 40
“Jolene,” 40
Jones, Leslie Ann,
Jones, Mari Reiss, 177
Jusczyk, Peter, 224
Kamakiriad (Fagen), 112
Keele, Steve, 147–48, 149, 177
Kemp, Martin, 4
Kind of Blue (Davis), 19
Kinks, 113
Klein, Larry, 213
Koffka, Kurt, 76
Köhler, Wolfgang, 76
“Koko,” 263
Korenberg, Julie, 260
Kosinsky, Jerzy, 207
Kottke, Leo, 213
Krumhansl, Carol, 40
“Lady Madonna,” 107
Lake, Greg, 49
Lamont, Alexandra, 223–24, 227
language
and cerebellum, 189
conversation and tempo, 172, 228
evolution of, 247–48, 249, 256, 260–61
language acquisition, 109, 228–29, 233, 261–62
language centers of the brain, 86, 87, 124–25, 127–30
and oral tradition, 267
The Language Instinct (Pinker), 249
lateral cerebellum, 91
Latin music, 241
learning theory, 197
Led Zeppelin, 35, 142–43, 206, 252
Lee, Lester, 58
left-handedness, 124
left hemisphere, 8, 124, 130, 136–37, 169, 226
Leiber, Jerry, 63
Leibniz, Gottfried, 22
leitmotiv, 28
length of songs, 117
Lennon, John, 66, 145, 157, 241–42
Lerdahl, Fred, 77
“Light My Fire,” 40
“Lilies of the Valley,” 244
listening to music, 85–86, 154–55
“Little Red Corvette,” 52
Little Richard, 51
lobotomy, 85
Locatelli, Pietro Antonio, 81
Locke, John, 99
Loftus, Elizabeth, 136
logarithmic scale
for loudness, 70
for pitch, 32
logic of perception, 105
London Symphony Orchestra, 149
“Lone Ranger,” theme from, 58
“Long Tall Sally,” 51
“Lookin’ Out My Back Door,” 113
Lortat-Jacob, Bernard, 106
loudness
and grouping, 81
neural basis, 71
and overtones, 46
Luria, A. R., 139
Lykken, David, 200
magnetic recording tape, 3
magnetic resonance imaging, functional. See functional MRI
major chords, 40
major scale (Ionian mode), 36–37, 38, 39, 75, 229–30, 273–74
“Mamas Don’t Let Your Babies Grow Up to Be Cowboys,” 40
Mann, Aimee, 203
“Many Rivers to Cross,” 224
mapping the brain, 96
“Maria,” 13
Marley, Bob, 113
“Mary Had a Little Lamb,” 15, 58
mate preferences, and evolution, 253–55
mathematics, 233
“Maxwell’s Silver Hammer,” 49
McCarthy, Joe, 58
McClelland, Jay, 163–64
McGregor, Freddie, 224
McLean, Don, 11
McVie, John, 160
measures, 64
melody
expectations of, 92–93, 118–19
and harmony, 18
and intervals, 32
leitmotiv, 28
and pitch, 27
and rhythm, 263
and transposition, 27, 76–77, 137
memory, 138–39, 165. See also categorization
accessing, 165–66
accuracy of, 135–37
activated by music, 192
and caring, 197–98
and chunking, 218–19
cues, 165–66
consolidation, 197
and exemplar theory, 162
and frontal lobes, 85
hierarchical encoding of music, 158, 220
identification memory, 219
and listening to music, 154–55, 166–67, 192
multiple-trace memory models, 162–63, 164, 165–66
muscle memory, 151–52
for music, 151–58, 165, 215–20
and musical ability, 206, 215–16
and neural network, 90
rote memorization, 219–20
and scales, 36
and schemas, 116–18
strength of, 197
tape recorder metaphor, 157, 159
for tempo, 61
theories on, 135, 138, 139, 140, 149, 157, 159, 164
and tune recognition, 135
of voices, 138–40
Menon, Vinod, 128, 175, 184, 189–90
Mercury, Freddie, 143
“Merrie Melody” cartoons, 39
Merzenich, Michael, 177
mesolimbic system, 191
Messiah, 11
meter, 172
in classical music, 172
common meters, 68–69
and loudness, 72
Metheny, Pat, 108
metrical extraction, 172–73
Meyer, Leonard, 147
The Mickey Mouse Club, 59
microtuning, 39
midbrain, 189
A Midsummer Night’s Dream (Shakespeare), 147
Miller, Geoffrey, 8, 252, 254, 258
Miller, George, 105
Miller, Mitch, 263
mind and brain, 83–84, 93–94, 96
MINERVA model, 164
Minnesota twins registry, 200
minor chords, 40
minor scale, 37
mirror neurons, 266–67
missing fundamental, restoration of, 43
“Mission: Impossible,” 69
mistakes made in music, 208
Mitchell, Joni, 146, 202–15, 246
Mitchell, Mitch, 170
modulation, 72
Monaco, Jimmie, 58
“Money,” 69
Monty Python, 156
mood, as distinguished from emotion, 182
“Mother Nature’s Son,” 2
motherese, 228–29
motivation, 182, 191, 195, 199
motor cortex, 57, 84, 86, 91, 270
movement and motor skills
development of, 260
and expressivity in performance, 210
and musical development, 195, 206
and parietal lobe, 85
Mozart, Wolfgang Amadeus, 57, 84, 86, 91, 270
Mozart Effect, 225–26
“Mr. Sandman,” 134
MT, brain area (visual cortex), 185
multiple sclerosis, 233–34
multiple-trace memory models, 142, 162–63, 164, 165–66
muscle memory, 151–52
music
defining, 13–14
specialized terms for, 10, 19, 20
musical syntax, 127
music education, 193–94, 198–99, 212
musicians, neuroanatomy of, 195, 226–27
music industry, 7
musicologists, 19
music theory, 40
music therapy, 227
Mussorgsky, Modest Petrovich, 39, 212
myelination, 233
“My Favorite Things,” 67
“My Funny Valentine,” 238
NAc (nucleus accumbens), 91, 123, 189–90, 191, 192, 271
nalaxone, 189
Narmour, Eugene, 117
natural instruments, 47
nature/nurture debate, 199–203
Needham, Mark, 2
Neisser, Ulrich, 105
Nelson, Ricky, 157
neural systems, pathways, circuits, 9, 29, 32, 41, 68, 85–86, 87–92, 103–4, 107, 109, 124, 126–27, 134, 154–55, 188, 190, 194, 220, 226, 228, 261
neural network of the brain, 87–91, 103, 122–23, 163–64, 210
and expressivity in performance, 209–10
function of, 96–97
mirror neurons, 266–67
and musical expectations, 125–28
pruning of, 109, 163, 232, 233, 262
redundancy, 185
neuroanatomy, 87–85, 174, 184–85, 226, 262, 264–65. See also specific anatomical structures
neurons, 11, 41–43, 71, 84, 87–94, 96, 98, 120, 122–23, 125–26, 127–29, 130, 154–55, 163, 165, 174, 179, 184–85, 188, 209–11, 221, 227–28, 234, 259, 265, 266–67
and firing rates, 42–45, 122–23, 125–26, 188, 228
refractory period of, 122
neuroscience, 95–97, 120, 122, 144
neurotransmitters, 96, 122–23, 126, 189, 198, 231
Nevison, Ron, 180–81
Newport Folk Festival, 13
Newton, Isaac, 2
New Wave music, 50
Ninth Symphony of Beethoven, 119
Norman, Jeffrey, 3
Normandeau, Robert, 14
notation, 64
notes. See also tone
defining, 15
and variety in music, 88
nucleus accumbens (NAc), 91, 123, 189–90, 191, 192, 271
obsessive-compulsive disorder (OCD), 155
occipital cortex/occipital lobe, 85, 86, 189
octaves, 31–32, 33, 34, 74, 118
“Ode to Joy,” 119
“Ohio,” 171
“Old Man,” 244
“One After 909,” 217
“One Note Samba,” 73
“One of These Nights,” 106–7
“One Way Out,” 113
“open tuning,” and guitars, 212–13
orbitofrontal regions of the brain, 136–37, 184, 230
orchestras, 78
organs, 47–48
overtones, 42–49, 53, 74, 80, 230
Palmer, Carl, 49
parallel processing in brains, 88–89, 103, 163–64
parietal lobes, 85
Parker, Charlie, 264
Parkinson’s disease, 174
Parncutt, Richard, 215, 216, 219
pars orbitalis, 129
partials, 44
Parton, Dolly, 40
passive exposure to music, 37
Patel, Ani, 128
“Pathétique” Sonata of Beethoven, 14, 118, 119, 217
PDP models. See parallel processing in brains.
peacocks, 252
perception, sensory. See sensory perception
perceptual completion, 100–1, 105, 106
percussion instruments, 45, 53
perfect fourth and fifth interval, 32, 33, 74–75, 229
performance of music, 6–7, 57, 61, 86, 209–10
peripheral nervous system, 122
Persian music, 39
Peter and the Wolf (Prokofiev), 28
Peterson, Oscar, 206
Phish, 243
phonemes, 130
phonogenic quality of musicians, 211, 215
phonograph records, 121–22
phrasing (in music), 194
physiology of hearing, 28–29, 241
Piaget, Jean, 5
“Piano Concerto #3” by Rachmaninoff, 91
pianos, 23, 25, 28, 33–34, 44, 72
Picasso, Pablo, 18
Pictures at an Exhibition, 39
pickup notes, 66
Pierce, John R., 50, 51, 79, 149
pinnae, 102
pipe organs, 48
pitch
A440, 35
absolute pitch, 27, 29, 32, 149–54, 155, 188
defining, 13, 14, 15, 19–21, 22
dimensions of, 114–15
dissonance in, 13
and emotion, 26–28
and expectations, 172
and frequency, 15, 20, 21–27, 23, 34–35
and grouping, 81–82
and guitars, 212–15
and harmony, 18
and melody, 27
and musical memory, 157–58
and musical preferences, 241
overtones, 43–45
perception of, 28–29, 31, 43–44
periodicity, 26
proportional changes in, 35–36
as psychophysical fiction, 150
relative pitch, 27, 28, 32, 35, 63
and rhythm, 72–75
and scales, 29–30
and tune recognition, 135
and vibration, 41–42
and Western music, 52
Plant, Robert, 252
planum temporale, 178, 195, 220
“Please Mr. Postman,” 113
pleasure and reward systems, 248
Poisson problem, inverse, 126
Police (musical group), 54, 59, 113–14, 160–61
polyphony, 13
Ponzo illusion, 99
popular music, 64, 112, 117, 152, 243
Posner, Michael
on attention systems of children, 230–31
on Janata’s research, 43
on mind and brain, 94–96
Posner Cueing Paradigm, 94
Powers, Austin, 170
practicing music, 196, 197, 198
predictability, and complexity, 235–37
preferences, musical
in adolescents, 231–33
in children, 109, 223–25, 227, 230, 244–45
and complexity, 240
and cultural bias, 227–30
and expectations in music, 235–37
neural basis for, 227–30, 234, 237–38
and pitch, 241
prenatal, 223–24
and prior experiences, 242
role of safety, 242–45
and schemas, 234–35
in the womb, 223–24
prefrontal cortex, 270
Presley, Elvis, 51, 63, 113, 157
Pribram, Karl, 4
“Pride and Joy,” 113
primary auditory cortex. See A1
Prince, 52
producing career of author, 3
Prokofiev, Sergey Sergeyevich, 28
prosodic cue, 27
prototypes in categories, 144–45, 147–49, 159–60, 161–62, 229
Prozac, 123
Psycho, 39
psychological issues, effect of music on, 227
pulse of music, 169–70, 172 “Purple Haze,” 170
Queen, (musical group), 67
Quintina in Sardinian a capella vocal music, 106
Rachmaninoff, Sergey Vasilyevich, 91, 92, 118, 263
rage, 183–84
Ramachandran, V. S., 98
Ramones, 85
Ravel, Maurice, 52, 55, 127, 263
receptors (neural), 123
recognition of music, 133–34, 137–38
recording tape, 3
recordings of music, 3, 70, 71, 107, 108, 121–22, 156–57
record-keeping theory of memory, 135, 139–40, 149, 157, 159, 164
records, phonograph, 121–22
Redding, Otis, 148
redundancy, 185
“Refuge of the Roads,” 213
Reinhardt, Django, 205
Reinhold, Judge, 203
relational theory of memory, 135
relationships between musical elements, 18
R.E.M., 243
remembering music, 154–55, 209. See also memory
repetition, 167
Repp, Bruno, 177
reptilian brain, 174. See also cerebellum
“Respect,” 148
restoration of the missing fundamental, 43
reverberation, 16, 107, 108, 157
reviews of musical performances, 19
Revolver (Beatles), 112
rhythm. See also tempo
and evolution, 263
and loudness, 71
and meter, 17
and metrical extraction, 173
and mirror neurons, 266–67
and musical ability, 206
and musical preferences, 241, 242
and pitch, 72–75
schemas of, 117
and variety in music, 88
right-handedness, 124
right hemisphere, 8, 124–25, 130, 173, 226
right temporal lobes, 173
Rizzolatti, Giacomo, 266
Rock, Irvin, 101
“Rock and Roll Music,” 66
rock music
backbeat, 66
canonical versions, 152
chords, 40
fans of, 243
and loudness, 71
and melody, 17
and meter, 169–70
and musical preferences, 241
representative sample of, 51–52
standards in, 112
Rolling Stone Encyclopedia of Rock, 5
Rolling Stones, 1, 54, 113, 149, 170, 263
Rollins, Sonny, 57
“Roll Over Beethoven,” 51
root (of a chord or scale), 36, 37, 214–15
Rosch, Eleanor, 141, 143–45, 147–49, 159, 161
Ross, Brian, 159
Rossini, Gioacchino Antonio, 58
rounds, singing, 230–31
Rumelhardt, David, 163–64
“The Rustle of Spring,” 160
Rutles, 156
Saffran, Jenny, 228
“Solsbury Hill,” 69
“Satisfaction,” 54
Scaggs, Boz, 181
scales
appeal of, 173
and categorization, 149
chromatic scale, 36
defining, 29–31
distinguishing between, 37–38
equal tempered scale, 52
expectations of, 114–15
five-note (pentatonic) scale, 38
hierarchy of tones in, 39
major scale (Ionian mode), 36–37, 38, 39, 74–75, 229–30, 273–74
minor scale, 37–38
and schemas, 116–17
and tones, 39–40
schemas, 115–19, 172, 217, 218, 234–35, 237
schizophrenia, 184
Schlaug, Gottfried, 195, 226–27
Schmahmann, Jeremy, 175, 178, 183, 187
Schönberg, Arnold Franz Walter, 72, 114, 237
Schwarzenegger, Arnold, 204
scientists and artists, 4–5
Scriabin, Aleksandr Nikolayevich, 55
Segovia, Andrés, 204
selective serotonin reuptake inhibitors (SSRIs), 123
sensory perception
as a constructive process, 105, 188
and illusions, 97–101, 105, 106, 108
as inference, 101
isomorphic representation of world, 97–98
neural basis for, 101–9
and startle reactions, 185
visual illusions, 97–98
seven-four (7/4) time, 69
sexual selection, 250–56, 258, 265–66, 267
sham rage, 183–84
Shapiro, Dan, 58
shared syntactic integration resource hypothesis (SSIRH), 128
sharps, 33–34
“shave-and-a-haircut, two bits,” 58
“Shave and a Haircut—Shampoo,” 58
Shepard, Roger
on categorization, 146
as instructor, 149
on memory, 138
on pitch, 151
Shiffrin, Lalo, 69
short-term (“echoic”) memory, 155
“Shout,” 170
Shrek, 202
Simon, Herbert, 105
simultaneous onsets of sounds, 80
Sinatra, Frank, 145, 148, 193, 212, 239
Sindig, Christian, 106
Sixth Symphony of Beethoven, 2
Sixth Symphony of Tchaikovsky, 69
skill, emphasis on, 7
Skinner, B. F., 5
“Sledgehammer,” 171
Smith, Julius O., III, 49
social variables, 202–3, 258–59
Songs for Swinging Lovers (Sinatra), 193
Sotho villagers of South Africa, 6–7
The Sound of Music, 30
sound pressure level (SPL), 70–71
soundscape, 156–57
Spears, Britney, 257
special effects, 108
Spencer, Herbert, 250
Sperber, Dan, 249
spinal cord, 122
“Spirits in the Material World,” 114
Spirits of Nature (musical group), 224
SSRIs (selective serotonin reuptake inhibitors), 123
“Stairway to Heaven,” 143, 206
“star quality,” 211
“The Stars and Stripes Forever,” 67
startle responses, 185–86
“Stayin’ Alive,” 170
steady state, 53
streams, auditory, 78, 101, 106
Sting, 54, 114, 118, 160–61, 211
Stoller, Mike, 63
Stone, Sly & The Family, 31
“Stop Loving You,” 224
Stradivarius violin, 48
Strauss, Johann Sebastian, 43
streaming by timbre, 101
stream segregation, 106
stringed instruments, 30
structure in music, 126–31
and illusion, 108
and memory, 217–18
and musical ability, 206–7
and musical preferences, 237–40
and neural processing of music, 190, 191
success and failure, 206–7
Sullivan, Ed (The Ed Sullivan Show), 204
Summers, Andy, 161
“Super Freak,” 170
superior temporal gyrus, 91
superior temporal sulcus, 91
“Surprise Symphony,” 92–93
suspense, 92–93
“Sweet Bird,” 214
Switched-On Bach, 49
“Symphony no. 94 in G Major” (Haydn), 92–93
“The Syncopated Clock,” 231
syncopation, 65
synesthesia, 127–28
syntax, musical, 127
synthesizers, 48–50
“Take Five,” 69
Tchaikovsky, Pyotr Ilich, 1, 38, 54, 69, 209
“The Teddy Bear’s Picnic,” 231
“Teenage Lobotomy,” 85
tempo. See also rhythm
and categorization, 149
and conversation, 172
and expectations, 173
and infants, 228
and musical memory, 154, 155, 157–58
neural basis for, 61
variation in, 61, 172, 191, 228
temporal lobes
and expressivity in performance, 210
and metrical extraction, 173
and music semantics, 127
and processing of music, 130, 210
responding to stimuli, 91
temporal positioning, 80
Temptations, 170
tension and schematic violations, 119, 235
ten-thousand-hours theory, 197, 198
“That’ll Be the Day,” 65–66
themes, variations on, 148, 234
Thompson, William Forde, 5, 226
three-quarter (3/4) time, 67, 68
tic-tac-toe, 235
timbre
analogy to color, 55
and auditory-code readers, 122
dimensions of, 52–55
of electric guitars, 13
and expectations, 172
expression through, 27–28
and grouping, 81
importance of, 52
and musical preferences, 241
neural basis for, 91
and overtones, 45
soundscape, 156–57
timing, 108, 174–75, 178, 182, 186, 192, 206
tonal hierarchy, 38–40
tone, 15, 39–40, 46, 53, 149. See also whole steps
tone deafness, 188
tonic (first degree), 39
tonotopic map/tonotopy, 29, 44
top-down processing, 104–5
training, musical, 194, 208–9, 211–12
musicians who lack, 212
Trainor, Laurel, 228
transposition, 76–77, 137, 149, 164, 228
Trehub, Sandra E., 228, 228, 260
Tricky (musical artist), 237
tritone (augmented fourth), 13, 74, 229
trombones, 30
“Tryin’ to Do Something to Get Your Attention,” 167
alternative methods for guitar, 212–13
“Turning the Tables” illusion, 99
“Twinkle, Twinkle Little Star,” 15, 62
twins studies, 200–3
“Twist and Shout,” 159
Two Against Nature (Steely Dan), 172
tympanic membrane. See eardrum
U2, 5
UB40, 224
ubiquity of music, 5–6
unconscious inference, 79, 101, 105
Ungerleider, Leslie, 163
unison interval, 74
Van Halen (group), 113
Varèse, Edgard, 14
Vaughan, Stevie Ray, 113
ventral striatum, 189
vibration, 39–44. See also frequency
“Vincent (Starry, Starry Night),” 11
Vincent, Gene, 157
visual image, of a musical performance, 210
Vivaldi, Antonio 224
vocabulary of music, 10, 19, 20. See also language
voices, 23, 31, 45, 138–40, 241–42
vulnerability, 242–45
Wagner, Richard, 243
“Wake Up Little Susie,” 157
“Walk This Way,” 60
Wanderley, Marcelo, 210
Ward, Dixon, 150–52
Waring, Clive, 127
Warner Bros., 39
Warren, Richard, 101
Watson, Doc, 203
Watson, James, 175
Watts, Alan, 144
wave guide synthesis, 49
wavelengths, 115
“We Will Rock You,” 67
Welk, Lawrence, 117
“We’re All Alone,” 181
Wertheimer, Max, 76
Western music
keys in, 72
meter of, 61–62
note durations, 63–64
preferences for, 227
schemas of, 116
and social consequences, 232
What Mad Pursuit (Crick), 179–80
Where’s Waldo?, 81
White, Norman, 10
Who, The, 71
whole notes, 63
Williams syndrome (WS), 186–87, 216, 259–60
William Tell Overture, 58
wind instruments, 53
The Wisdom of Insecurity (Watts), 144
Wittgenstein, Ludwig, 141–42, 143
Wonder, Stevie, 55, 170, 171, 209, 211, 212
woodwind instruments, 34
“Would You Like to Swing on a Star,” 231
Wundt, Wilhelm, 80
Yamaha DX9 and DX7, 50
Yes (musical group), 149
yodelers, 81
Young, Neil, 146, 211, 243, 244
“You Really Got Me,” 113
Zappa, Frank, 170
Zarin, Michelle, 180
Zatorre, Robert, 164, 173, 189
Zoloft, 123