Book Review: Brain Specialization for Music

Neuroscientist - Tập 8 Số 4 - Trang 372-380 - 2002
Isabelle Peretz1
1Department of Psychology, University of Montreal Research Center, University Institute of Geriatrics of Montreal, Canada.

Tóm tắt

Music, like language, is a universal and specific trait to humans. Similarly, music appreciation, like language comprehension, appears to be the product of a dedicated brain organization. Support for the existence of music-specific neural networks is found in various pathological conditions that isolate musical abilities from the rest of the cognitive system. Cerebrovascular accidents, traumatic brain damage, and congenital brain anomalies can lead to selective disorders of music processing. Conversely, autism and epilepsy can reveal the autonomous functioning and the selectivity, respectively, of the neural networks that subserve music. However, brain specialization for music should not be equated with the presence of a singular “musical center” in the brain. Rather, multiple interconnected neural networks are engaged, of which some may capture the essence of brain specialization for music. The encoding of pitch along musical scales is likely such an essential component. The implications of the existence of such special-purpose cortical processes are that the human brain might be hardwired for music.

Từ khóa


Tài liệu tham khảo

Assal G., 1973, Revue Neurologique, 29, 251

10.1093/brain/awf028

10.1093/brain/123.9.1926

10.1007/978-1-4684-8917-0_17

10.1136/jnnp.48.5.407

10.1111/1467-9280.00091

Brown S., 2000, The origins of music, 271

10.1016/B978-0-433-06703-0.50026-7

10.3758/BF03210493

Darwin C., 1871, The descent of man and selection in relation to sex

De Graaf J, 2000, Epileptic seizures: pathophysiology and clinical semiology, 228

10.1076/chin.5.3.154.7337

Dowling W., 1982, Cross-cultural perspectives on music

10.2307/40285774

10.7551/mitpress/4737.001.0001

10.1007/BF02663629

10.1093/mind/os-3.10.157

10.1093/brain/120.5.785

10.1097/00001756-200004070-00004

10.2307/40285769

10.1017/S0033291700025927

Jackendoff R., 1987, Consciousness and the computational mind

10.1111/j.1469-1809.1980.tb01571.x

Kogan N., 1994, Social Research, 61, 139

Krumhansl C., 1990, Cognitive foundations of musical pitch

10.1093/brain/121.10.1853

10.1016/0022-510X(65)90113-9

10.1038/87502

10.1016/B978-012213564-4/50018-4

Miller G., 2000, The origins of music, 329

Miller L., 1989, Musical savants: exceptional skill in the mentally retarded

10.1080/13554799908402744

10.1038/35003577

10.1006/brln.1997.1862

10.1093/brain/86.4.595

10.1093/brain/113.4.1185

10.1080/02643299308253455

10.1162/jocn.1996.8.6.481

Peretz I., 2001, The handbook of cognitive neuropsychology, 519

Peretz I., 2001, Music and emotion: theory and research, 105, 10.1093/oso/9780192631886.003.0005

10.1016/S0896-6273(01)00580-3

Peretz I, Belleville S, Fontaine FS. 1997. Dissociations entre musique et langage après atteinte cérébrale: un nouveau cas d’amusie sans aphasie. Revue canadienne de psychologie expérimentale 51:354-67.

10.1093/brain/124.5.928

10.1016/S0010-0277(98)00043-2

10.1093/brain/117.6.1283

10.1080/07494468900640361

10.1136/jnnp.69.4.541

Pinker S., 1997, How the mind works

10.1093/brain/122.7.1305

10.1126/science.226.4680.1333

Signoret JL, 1987, Revue Neurologique, 143, 172

10.2307/40285330

10.1037/0033-295X.107.4.885

10.1126/science.10.1126/SCIENCE.1056899

10.1037/0096-1523.25.4.965

Wallin N, 2000, The origins of music

10.1016/S1053-8119(18)31216-3

10.1111/j.1528-1157.1997.tb01098.x

10.1523/JNEUROSCI.14-04-01908.1994

Thông tin
Thông tin xuất bản

Neuroscientist

Tập 8 Số 4

372-380

Thông tin tác giả