Page 36 - WINTER2019
P. 36

Music and the Brain
Koelsch, S., Gunter, T., Friederici, A. D., and Schroger, E. (2000). Brain indices of music processing: “Nonmusicians” are musical. Journal of Cognitive Neuroscience 12(3), 520-541.
Kraus, N., and Chandrasekaran, B. (2010). Music training for the develop- ment of auditory skills. Nature Reviews Neuroscience 11(8), 599-605.
Krumhansl, C. L., and Kessler, E. J. (1982). Tracing the dynamic changes in perceived organization in a spatial representation of musical keys. Psychological Review 89(4), 334-368.
Levitin, D. J. (1994). Absolute memory for musical pitch: Evidence from the production of learned melodies. Perception & Psychophysics 56(4), 414-423.
Levitin, D. J., and Menon, V. (2003). Musical structure is processed in “language” areas of the brain: A possible role for Brodmann Area 47 in
temporal coherence. Neuroimage 20(4), 2142-2152.
Loui, P., Alsop, D., and Schlaug, G. (2009). Tone deafness: A new discon-
nection syndrome? Journal of Neuroscience 29(33), 10215-10220.
Loui, P., Grent, T., Torpey, D., and Woldorff, M. (2005). Effects of attention on the neural processing of harmonic syntax in Western music. Cognitive
Brain Research 25(3), 678-687.
Loui, P., Guenther, F. H., Mathys, C., and Schlaug, G. (2008). Action-per-
ception mismatch in tone-deafness. Current Biology 18(8), R331-R332. Loui, P., Li, H. C., Hohmann, A., and Schlaug, G. (2011). Enhanced connec- tivity in absolute pitch musicians: A model of hyperconnectivity. Journal
of Cognitive Neuroscience 23(4), 1015-1026.
Loui, P., Wu, E. H., Wessel, D. L., and Knight, R. T. (2009). A general-
ized mechanism for perception of pitch patterns. Journal of Neuroscience
29(2), 454-459.
Loui, P., Zamm, A., and Schlaug, G. (2012). Enhanced functional networks
in absolute pitch. NeuroImage 63(2), 632-640.
Martinez-Molina, N., Mas-Herrero, E., Rodriguez-Fornells, A., Zatorre,
R. J., and Marco-Pallares, J. (2016). Neural correlates of specific musical anhedonia. Proceedings of the National Academy of Sciences of the United States of America 113(46), E7337-E7345.
McAdams, S. (2013). Musical timbre perception. In D. Deutsch (Ed.), The Psychology of Music, 3rd ed. Academic Press, New York, pp. 35-67.
Meyer, L. B. (1956). Emotion and Meaning in Music. University of Chicago Press, Chicago, IL.
Micheyl, C., Delhommeau, K., Perrot, X., and Oxenham, A. J. (2006). Influ- ence of musical and psychoacoustical training on pitch discrimination. Hearing Research 219(1-2), 36-47.
Miyazaki, K. I. (1989). Absolute pitch identification: Effects of timbre and pitch region. Music Perception 7(1), 1-14.
Mottron, L., Bouvet, L., Bonnel, A., Samson, F., Burack, J. A., Dawson, M., and Heaton, P. (2013). Veridical mapping in the development of exceptional autistic abilities. Neuroscience and Biobehavioral Reviews 37(2), 209-228.
Norton, A., Zipse, L., Marchina, S., and Schlaug, G. (2009). Melodic into- nation therapy: Shared insights on how it is done and why it might help.
Annals of the New York Academy of Sciences 1169, 431-436.
Nozaradan, S., Peretz, I., Missal, M., and Mouraux, A. (2011). Tagging the neuronal entrainment to beat and meter. Journal of Neuroscience 31(28),
Patel, A. D. (2010). Music, Language, and the Brain. Oxford University
Press, New York.
Peretz, I., Brattico, E., Jarvenpaa, M., and Tervaniemi, M. (2009). The amusic
brain: In tune, out of key, and unaware. Brain 132(5), 1277-1286.
Peretz, I., Champod, A. S., and Hyde, K. (2003). Varieties of musical dis-
orders. The Montreal Battery of Evaluation of Amusia. Annals of the New York Academy of Sciences 999, 58-75.
Purves, D., Cabeza, R., Huettel, S. A., LaBar, K. S., Platt, M. L., and Woldorff, M. G. (2008). Principles of Cognitive Neuroscience. Sinauer Associates, Inc., Sunderland, MA.
Sachs, M. E., Ellis, R. J., Schlaug, G., and Loui, P. (2016). Brain connectivity reflects human aesthetic responses to music. Social Cognitive and Affective Neuroscience 11(6), 884-891.
Salimpoor, V. N., van den Bosch, I., Kovacevic, N., McIntosh, A. R., Dagher, A., and Zatorre, R. J. (2013). Interactions between the nucleus accumbens and auditory cortices predict music reward value. Science 340(6129), 216-219.
Sammler, D., Koelsch, S., and Friederici, A. D. (2011). Are left fronto-tem- poral brain areas a prerequisite for normal music-syntactic processing? Cortex 47(6), 659-673.
Schlaug, G., Jancke, L., Huang, Y., and Steinmetz, H. (1995). In vivo evidence of structural brain asymmetry in musicians. Science 267(5198), 699-701.
Sihvonen, A. J., Ripolles, P., Sarkamo, T., Leo, V., Rodriguez-Fornells, A., Saunavaara, J., Parkkola, R., and Soinila, S. (2017). Tracting the neural basis of music: Deficient structural connectivity underlying acquired amusia. Cortex 97, 255-273.
Stupacher, J., Hove, M. J., Novembre, G., Schütz-Bosbach, S., and Keller, P. E. (2013). Musical groove modulates motor cortex excitability: A TMS investigation. Brain and Cognition 82(2), 127-136.
Tal, I., Large, E. W., Rabinovitch, E., Wei, Y., Schroeder, C. E., Poeppel, D., and Golumbic, E. Z. (2017). Neural entrainment to the beat: The “missing- pulse” phenomenon. Journal of Neuroscience 37(26), 6331-6341.
Teki, S., Kumar, S., von Kriegstein, K., Stewart, L., Lyness, C. R., Moore, B. C., Capleton, B., and Griffiths, T. D. (2012). Navigating the auditory scene: An expert role for the hippocampus. Journal of Neuroscience 32(35), 12251-12257.
Ward, W. D. (1999). Absolute pitch. In D. Deutsch (Ed.), The Psychology of Music. Academic Press, San Diego, CA, pp. 265-298.
Warren, J. D., Jennings, A. R., and Griffiths, T. D. (2005). Analysis of the spectral envelope of sounds by the human brain. Neuroimage 24(4), 1052-1057.
Wessel, D. L. (1979). Timbre space as a musical control structure. Computer Music Journal 3(2), 45-52.
Witek, M. A. G., Clarke, E. F., Wallentin, M., Kringelbach, M. L., and Vuust, P. (2014). Syncopation, body-movement and pleasure in groove music. PLoS ONE 9(4), e94446.
Psyche Loui is an assistant professor of creativity and creative practice in the Department of Music, Northeastern University (Boston, MA). She gradu- ated from the University of California, Berkeley with her PhD in psychology and attended Duke University (Durham, NC)
as an undergraduate with degrees in psychology and music. Dr. Loui has published extensively on music and the brain. Her work has been reported by the Associated Press, The New York Times, The Boston Globe, the BBC, CNN, NBC news, CBS radio, The Scientist magazine, and other news outlets.
   36 | Acoustics Today | Winter 2019

   34   35   36   37   38