Music Listening, Music Therapy, Phenomenology and Neuroscience

Appendix 3.02 Survey of The Neurosciences a

nd Music I

I

Conference 2005

From Perception to Performance

Title, Category

Aim

Mus. Material, Cultural Ref.

Technology & Procedure

Main focus of interest

Conclusion

5P. Large & Tretakis

(53

-56)

Tonality and Nonli

near

Resonance

Cat. 1: Scales

To outline a theory of tonality that predicts tonal stability, attraction and categorization

No musical material

CR:

---

Mathematical analysis of resonator networks, providing possible analogues of psycho

-acoustic phenome

na

Hypothesis: Nonlinear frequency analysis by the cochlea, further trans

• 
  

formation in networks of neural resonators

Theoretical predictions of perceptual categorization

are hypotesized

Part II. Music and Language

5 papers

Title, Category

Aim

Mus. Material, Cultural Ref.

Technology & Procedure

Main focus of interest

Conclusion

6. Patel (59-70)
   Melody and syntax
   Cat. 2: Harmony Cat. 6: Language

1)

To investigate the notion

that instrumental music reflects speech patterns in the

composer’s native language 2) To i

nvestigate the

relationship between musical and linguistic syntax processing

via the study of

aphasia

1) Spoken sentences in English and French. 300 classical themes by six English and ten Fren

ch

composers

2) Spoken sentences, five levels of syntactic com

• 
  

plexity. Sets of two successive chords (

SNI)

CR: Western

1) Measuring the variation of pitches and pitch intervals

in

speech (prosogram represen

• 
  

tations

, glides ignored

) and in

musical themes

Prosogram:

A semi

-automatic

quantitative graphic analysis of speech in

tonation

2)

Nine Dutch

-speaking

aphasics, twelve controls. Sentence

-picture matching

task and harmonic priming task

1) What aspects of intonation patterns are learned and reflected in music?

2) Do aphasics with syntactic comprehension problems in language also have a musical syntactic deficit?

New evidence for the relationship between

linguistic

prosody and musical struct

ure, and between

syntactic pr

cessing in music

and language. A good deal more can be done