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THE OXFORD HANDBOOK OF
Edited by
MICHAEL H. THAUT
and
DONALD A. HODGES
Great Clarendon Street, Oxford, ox2 6dp, United Kingdom
All rights reserved. No part of this publication may be reproduced, stored in a retrieval
system, or transmitted, in any form or by any means, without the prior permission in
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reproduction outside the scope of the above should be sent to the Rights Department,
Oxford University Press, at the address above
You must not circulate this work in any other form and you must impose this same
condition on any acquirer
ISBN 978–0–19–880412–3
ebook ISBN 978–0–19–252613–7
Printed and bound by CPI Group (UK) Ltd, Croydon, cr0 4yy
Links to third party websites are provided by Oxford in good faith and for information only.
Oxford disclaims any responsibility for the materials contained in any third party website
referenced in this work.
Table of Contents
List of Contributors
SECTION I INTRODUCTION
Jessica A. Grahn
Index
List of Contributors
I N T R OD UC T I ON
CHAPTER 1
THE NEUROSCIENTIFIC
STUDY OF MUSIC: A
BURGEONING DISCIPLINE
Introduction
FIGURE 2. The number of published articles obtained from a simple “music and
brain” search in PubMed (https://www.ncbi.nlm.nih.gov/pubmed/).
The six chapters comprising Section IV delve into the ways the
brain responds to music. Once again, we see multiple overlapping
and mutually reinforcing domains. All meaningful musical
experiences involve memory in one way or another. Lutz Jäncke
explores discrete, music-only, and shared memory systems that
involve auditory processing, episodic, autobiographic, semantic, and
implicit memories, as well as motor programs, emotion, and
motivation. Each of these components has neural correlates
designed for encoding, storing, and retrieving musical memories.
Such a diffuse and distributed network may help explain commonly
reported musical influences on non-musical memory formation.
Psyche Loui and Rachel Guetta tackle relationships between music
and attention, executive function, and creativity. The topic of
attention in music can be informed by general theories of attention,
as well as those specifically applied to musical stimuli. Passive music
listening experiences are less likely to affect executive functions, but
research is ongoing concerning whether and to what extent active
musicing affects executive functions in terms of near and far
transfers and in terms of relevant neural mechanisms. Attention and
executive functions, along with their attendant brain networks, are
both connected to musical creativity.
Patrik Juslin and Laura Sakka provide a thorough and detailed
review of neuroimaging studies related to music and emotion.
Although certain brain regions have been more or less consistently
implicated in the processing of musical emotions, much is still
unclear. For example, it is not always certain in some experimental
designs whether participants are “merely” perceiving or actually
experiencing musical emotions. Juslin and Sakka provide
methodological recommendations for moving the field forward.
Neurochemical responses are the basis for musical emotions and
Yuko Koshimori reviews recent work in this emerging field. Musical
experiences induce the release of neurotransmitters (e.g., dopamine,
serotonin, and acetylcholine), neuropeptides (e.g., beta-endorphin,
oxytocin, and arginine vasopressin), steroid hormones (e.g.,
cortisol), and peripheral immune biomarkers. In addition to the main
area of research concerning neurochemical responses in music
listening and music performance experiences, another primary
course of investigation involves the intentional manipulation of
neurochemicals via music in a variety of health and wellness issues
(e.g., Parkinson’s disease, chronic pain, and stress).
Elvira Brattico’s discussion of neuroaesthetics combines but also
moves beyond the previous chapters in this section; this is another
emerging field that demonstrates the maturing of neuromusical
research. Building on decades of previous work in music perception,
cognition, and more recently emotion, neuroaesthetics investigates
matters such as brain areas involved in liking, preference, and
aesthetic judgments. While this undoubtedly introduces more
subjectivity into the discussion, it also moves us closer to a core
human experience that lies at the root of music’s importance.
Music and language are both ubiquitous aspects of the human
experience and questions about the nature of and relationships
between the two have been asked and the answers debated for
centuries. Now neuroscientists are posing new questions, such as “to
what extent are music and language processed in distinct, shared, or
homologous networks?” Daniele Schön and Benjamin Morillon give
answers to this and related questions based on current evidence.
They also discuss the effects of musical experiences on language
acquisition and skills.
As was the case with Section III, Section IV demonstrates the
tremendous complexity of human musical experiences from a
neuroscientific standpoint. Steadily, patiently, over a period of time
and with new technologies and methodologies, a clearer picture is
emerging.