|
|
|
|
The Cognitive Neuroscience of Music
Edited by Isabelle Peretz and Robert J. Zatorre
466 pages
|
12pp colour plates, numerous tables and figures
|
240x168mm
978-0-19-852520-2
|
Paperback
|
10 July 2003
|
|
This item is printed to order and supplied on a firm sale basis. Items which are printed to order are normally despatched and charged within 5-10 days.
|
|
|
- The first book to describe the neural bases of music
- Edited and written by the leading researchers in this field
- An important addition to OUP's acclaimed list in music psychology
Music offers a unique opportunity to better understand the organization of the human brain. Like language, music exists in all human societies. Like language, music is a complex, rule-governed activity that seems specific to humans, and associated with a specific brain architecture. Yet unlike most other high-level functions of the human brain - and unlike language - music is a skill at which only a minority of people become proficient. The study of music as a major brain function has for some time been relatively neglected. Just recently, however, we have witnessed an explosion in research activities on music perception and performance and their
correlates in the human brain. This volume brings together an outstanding collection of international authorities - from the fields of music, neuroscience, psychology, and neurology - to describe the amazing advances being made in understanding the complex relationship between music and the brain. Aimed at psychologists and neuroscientists, this is a book that will lay the foundations for a cognitive neuroscience of music.Readership: Cognitive psychologists/Cognitive neuroscientists. Music psychologists. Advanced Undergraduate level upwards.
|
|
|
Edited by Isabelle Peretz, Department of Psychology, University of Montreal, and Robert J. Zatorre, Montreal Neurological Institute, McGill University, Montreal Click here togo to Robert Zatorre's websiteContributors:
Sandra E. Trehub, Department of Psychology, University of Toronto, Canada
Carolyn Drake, Experimental Psychology, University of Boulogne, France
Jenny R. Saffran, Department of Psychology, University of Wisconsin-Madison, USA
Ian Cross, Department of Music, University of Cambridge,
UK
David Huron, School of Music, Ohio State University, USA
Stephen McAdams, IRCAM-CNRS, Paris, France
Daniel Matzkin, IRCAM-CNRS, Paris, France
Carol L. Krumhansl, Department of Psychology, Cornell University, USA
Petri Toiviainen, Department of Music, University of Jyvaskyla, Finland
Barbara Tillmann, University Claude Bernard Lyon, Audition-CNRS, Lyon, France
Jamshed Bharucha, Dartmouth College, USA
Emmanuel Bigand, University of Bourgogne, LEAD-CNRS, France
Mark Jude Tramo, Department of Neurology, Harvard Medical School, Boston, Massachusetts, USA
Catherine Liegeois-Chauvel, INSERM, Laboratory of Neurophysiology, France
Timothy Griffiths, Department of Neurology and
Physiological Science, Newcastle University Medical School, UK
John Brust, Department of Neurology, Harlem Hospital Center and Columbia University College of Physicians and Surgeons, New York, USA
Isabelle Peretz, Department of Psychology, University of Montreal
Severine Samson, Department of Psychology, University Charles de Gaulle, France
Andrea Halpern, Psychology Department, Bucknell University, Pennsylvania, USA
Robert Zatorre, Montreal Neurological Institute, Canada
Lawrence Parsons, Director, Cognitive Neuroscience Program, National Science Foundation, USA
Mireille Besson, National Center for Scientific Research Language and Music Group, France
Mari Tervaniemi, Cognitive Brain Research Unit,
University of Helsinki
Laurel Trainor, Department of Psychology, McMaster University, Canada
Aniruddh Patel, The Neurosciences Institute, San Diego
Eckart Altenmuller, Institute for Music Physiology, Hannover, Germany
Joseph Rauschecker, Georgetown Institute for Cognitive and Computational Sciences, Washington, USA
Gottfried Schlaug, Beth Deaconess Medical Center and Harvard Medical School, USA
Christo Pantev, Rotman Research Institute, Canada
Thomas Elbert, Department of Psychology, University of Konstanz, Germany
Alvaro Pascual Leone, Beth Israel Deaconess Medical Center, Harvard Medical School, USA
Fred Lerdahl, Department of Music, University of Columbia, USA
Glenn
Schellenberg, Department of Psychology, University of Toronto, Canada
|
|
|
"There are few things more exciting than an entirely new scientific field, a new attempt to understand another aspect of our human existence - now it's music's turn. Here is a collection of papers from leaders in the discipline, trying to tease apart exactly what goes on inside the brain when it experiences music. It is a bafflingly huge subject and the editors should be applauded for bringing so much expertise to a single tome... The book is a mixed bag, some chapters are far more accessible than others to the general neuroscientist - but this is a minor criticism. Each chapter of the book plays like a section of a small orchestra, contributing to the magnificent whole." - The Lancet Neurology
|
|
|
Preface
Part I: The origins of music
1: Sandra E. Trehub: Musical predisposition in infancy: an update
2: Carolyn Drake and Daisy Bertrand: The quest for universals in temporal processing in music
3: Jenny R. Saffran, Michael Loman, and Rachel Robertson: Mechanisms of musical memory in infancy
4: Ian Cross: Music, cognition, culture, and evolution
5: David Huron: Is music an evolutionary adaptation?
Part II: The musical mind
6: Stephen McAdams and Daniel Matzkin: The roots of musical variation in perceptual similarity and invariance
7: Carol L. Krumhansl and Petri Toivainen: Tonal cognition
8: Barbara Tillmann, Jamshed J. Barucha, and Emmanuel Bigand: Learning and perceiving musical structures: further insights from artificial neural networks
Part III: The neurons of music
9: Mark Tramo: Neurobiology of harmony perception
10: Catherine Liegeois-Chauvel, Kimberly Giraud, Jean-Michel Badier, Patrick Marquis, and Patrick Chauvel: Intracerebral evoked potentials in pitch perception reveal a functional asymmetry of human auditory cortex
11: Timothy D. Griffiths: The neural processing of complex sounds
Part IV: Musical brain substrates
12: John C.M. Brust: Music and the neurologist: an historical perspective
13: Isabelle Peretz: Brain specialization for music: new evidence from congenital amusia
14: Severine Samson: Cerebral substrates for musical temporal processes
15: Andrea R. Halpern: Cerebral substrates of musical imagery
16: Robert J. Zatorre: Neural specializations for tonal processing
17: Lawrence M. Parsons: Exploring the functional neuroanatomy of music performance, perception, and comprehension
18: Mireille Besson and Daniele Schon: Comparison between language and music
19: Mari Tervaniemi: Musical sound processing: EEG and MEG evidence
20: Laurel Trainor: Frontal EEG responses as a function of affective musical features
21: Aniruddh D. Patel and Evan Balaban: Cortical dynamics and the perception of tone sequence structure
22: Eckart O. Altenmuller: How many music centres are in the brain
Part V: Musical brain/brain plasticity
23: Joseph P. Rauschecker: Functional organization and plasticity of auditory cortex
24: Gottfried Schlaug and Chi Chen: The brain of musicians
25: C Pantev, A. Engelien, V. Candia, and T. Elbert: Representational cortex in musicians
26: Alvaro Pascual-Leone: The brain that makes music and is changed by it
Part VI: Relation of music to other cognitive domains
27: Fred Lerdahl: The sounds of poetry viewed as music
28: Glenn Shellenberg: Does exposure to music have beneficial side effects?
|
|
|
|
|
|
|
|
|
Recently Viewed
|
|
|
Hilary Tann
Conductor's score and parts on hire
Available on Hire
|
|
|
|
|
Patronage, Physicians, and Irregular Practitioners 1550-1640
Margaret Pelling, Frances White
£123.00
|
|
|
|
|
|
Volume 2: Famine Prevention
Jean Drèze, Amartya Sen
£105.00
|
|
|
|
|
The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. Occasionally, due to the nature of some contractual restrictions, we are unable to ship a specific product to a particular territory. Jacket images are provisional and liable to change before publication.
|
|
