Appendix 3.05 Musical material – The Neurosciences and Music
Recorded music NM I NM II and NM III
19 studies apply specified recorded music as material,^1 17 studies apply unspecified recorded music.
Noteworthy papers which apply specified recorded music are the following:
Recorded music, NM I
Demorest and Morrison (NM I no. 8, pp. 112-117). An fMRI study of cultural differences based on excerpts
from A. Scarlatti: Sonata Terza and a traditional Chinese piece, Liu Qin Niang. The excerpts were matched
for tempo, texture, and instrument type.
De Poli (NM I no. 9, pp. 118-123). A study of expressive intentions in music performance, based on live
recordings of different styles, including Mozart’s Concert for clarinet K. 622.
Dalla Bella & Peretz (NM I no. 18, pp. 166-169). A study of amusic persons’ ability to tap in synchrony with
recordings of real music versus noise bursts.
Plantinga & Trainor (NM I no. 58, pp. 520-521). A study of infants’ long-term memory representations for
the pitch of familiar melodies.
Recorded music, NM II
Janata (NM II no. 12, pp. 111-124). An fMRI study of attentive listening to polyphonic music, applying an
excerpt from Schubert’s trio in Ab major for violin, cello and piano, op. 100.
Sloboda et al. (NM II no. 25, pp. 255-261). An investigation of emotional communication in expressive live
recordings of melodies played by a professional violinist. The live recordings were compared to synthesized
versions of the same melodies, which are test pieces in the Montreal Battery for the Evaluation of Amusia.
Bigand et al. (NM II no. 46, pp. 429-437). A study of fast emotional responses to music, based on 27
excerpts of classical music by R. Strauss, J.S. Bach, Mozart, Brahms, Scarlatti, Schumann,
Shostakovitch, Wagner, Liszt, Prokofiev, Beethoven, Mendelssohn, Chopin, W.F. Bach, Haydn, Schubert,
Stravinsky, and Schoenberg.
Grewe et al. (NM II no. 49, pp. 446-449). A study of strong emotional experiences arousing ”chills”,
applying music of seven different styles: Mozart, Bach, Pop music, Film music, Cello-Rockband, Death
Metal, and Bossa Nova.
Recorded music, NM III
Wong et al. (NM III no. 19, pp. 157-163). A study of Western and Indian listeners’ responses to excerpts of
Western music by J. Stamitz and G.B. Sammartini, and Indian music by N. Banerjee and U.R. Shahn.
Bigand et al. (NM III no. 33, pp. 234-244). A study of fast recognition of music, based on 20 excerpts of
familiar and unfamiliar classical music by Bach, Rossini, Mozart, Brahms, Dvorak, Ravel, Shostakovitch,
Bizet, Schubert, R. Strauss, Söderman, Olson, Rebel, Berwald, Kraus, Bengtsson, Norman, Scriabin,
Beethoven, Alfvén, and Wagner.
Grewe et al. (NM III no. 51, pp. 351-354). A study of strong emotional and physiological responses to
Mozart’s Requiem, The motet Unser Leben ist ein Schatten by Johann Bach (1604-1673), and Puccini’s
Requiem.
(^1)
Specifications are indicated in the survey of Cultural references, appendix 3.07.