Furthermore, a brain without a cerebellum is viewed as subtly suboptimal, whereas a brain
with a damaged cerebellum can range from mildly to very suboptimal, depending on
degree and location of damage. In the more debilitating cases, the assumption is that a
damaged cerebellum is causing other brain areas to operate on the basis of corrupted,
noisy, poorly acquired and controlled sensory information. More generally, there may be a
number of brain areas (such as basal ganglia or cingulate) with comparably indirect sup-
porting roles in other cognitive or behavioural processes. Clearly, careful neurological stud-
ies (and, in some cases, transcranial magnetic stimulation studies) can assist in dissociating
shades of involvement of a brain area in a particular psychological process.
Conclusion
Musical experiences intricately and deeply engage the mind and the whole brain. Details of
this process are being unveiled by new scientific advances well represented in this volume.
Although many challenges lie ahead for fully understanding the biological foundations of
music, the tools for meeting at least a fair share of those challenges appear to be in hand.
Acknowledgements
I am grateful to the following collaborators for their stimulating, intelligent assistance with
the studies discussed in this chapter: Peter Fox, Donald Hodges, James Bower, Jeremy
Schmahmann, Stephen Grill, Michael Thaut, Bruno Repp, Michael Martinez, and John
Tennison. I also thank our subjects, musicians, and patients for their gracious participation
in support of basic research. The work described in this article was supported by the EJLB
Foundation, the National Association for Music Merchants (now the International
Foundation for Music Research), the Texaco Foundation, a State of Colorado Center of
Excellence Award, and NIH (NINDS) Grant NS3710901A1.
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