cognitive perspective 271–5
compared to music 269–93
syntax and harmony 283–5
temporal structure 285–9
evolutionary origin 66–7
evolutionary perspective 270–1
generative grammar theory 275, 276
linguistic stress 414
similarities and differences 270–5
learning music seemusical training
lesion studies seebrain lesions
Ligeti, György
Atmosphères 80
Lux Aeterna 80magnetic resonance imaging
focal hand dystonia 403, 404
Heschl’s gyrus 233, 234
musical imagery 222
musical processing 187
pitch discrimination 233, 234
magnetoencephalography 173–5, 383
auditory cortex 153
language processing 276
mismatch negativity 294–309
making music seemusical training
maternal music 9–13
melodic contour seecontour
melodic intervals seeintervals
melody 278–9, 325–45
memory 23–4, 32–41
mental practice 401–2
Messiaen, Olivier,Modes de Valeurs et d’Intensités
85, 86
metre 274, 327, 416
and grouping 417
in poetry 424
minor second 132, 133, 141
see alsointervals
mismatch negativity 294–309
see alsoelectroencephalography
modern music 65
motor cortex 369
motor skill development theory 61
Mozart effect 432–8
MRI seemagnetic resonance imaging
music agnosia 194
music centres 348–50
music industry 57–75
music-savant syndrome 195, 198
music-specific networks 199–201
Musical Aptitude Profile 186
musical consonance seeconsonance
musical hallucinations 199musical imagery seeimagery
musical instruments 62–3, 326
musical intervals seeintervals
musical performance 3, 247–68
functional neuroanatomy 248–51
comprehension 251–4
musical rhythm 254–60
musical predisposition 3–20
see alsomusical ability
musical scales 7–9, 131, 271, 327–8
see alsointervals; tonal cognition
musical training 349, 396–409
and cortical plasticity 387–91
auditory representation 388–91
somatosensory representations 387–8
and IQ score 441
learning to play piano 397–401
and nonmusical abilities 430–44
musicians, brain of 366–81, 382–95
functional brain differences 373–6
implicit musical ability 376
structural brain differences 367–73
musicogenic seizures 181–91, 199
see alsoepilepsyneural coding
pitch relationships 132–8
roughness 138–44
neural processing 152–67, 168–77
neuroimaging 173–5, 247–68
magnetoencephalography see
magnetoencephalography
MRI seemagnetic resonance imaging
PET seepositron emission tomographyoctaves 130–1Penderecki, Krzysztof,Threnody for the victims of
Hiroshima 80
perfect fifth 6, 7, 132–3, 134
perfect fourth 6, 7, 132, 133, 134
performance seemusical performance
PET seepositron emission tomography
physiological response to music 312–14
pitch 271, 274
absolute (perfect) 6, 34, 38, 390, 443
infants’ perception of 5
maternal singing 10
mental presentation of 218
modularity in perceived similarity 89–91
neural coding 132–8
perception 152–67
in poetry 421–2, 423
processing 232–40 451Zat-index.qxd 6/6/03 12:01 AM Page 451