In the first comprehensive study of the relationship between music and language from the standpoint of cognitive neuroscience, Aniruddh D. Patel challenges the widespread belief that music and language are processed independently.
Since Plato's time, the relationship between music and language has attracted interest and debate from a wide range of thinkers.
Recently, scientific research on this topic has been growing rapidly, as scholars from diverse disciplines, including linguistics, cognitive science, music cognition, and neuroscience are drawn to the music-language interface as one way to explore the extent to which different mental abilities are processed by separate brain mechanisms. Accordingly, the relevant data and theories have been spread across a range of disciplines.
This volume provides the first synthesis, arguing that music and language share deep and critical connections, and that comparative research provides a powerful way to study the cognitive and neural mechanisms underlying these uniquely human abilities. Seminar paper from the year in the subject American Studies - Linguistics, grade: 2,0, Humboldt-University of Berlin Institut fur Anglistik und Amerikanistik , course: Language vs.
A Comparison between Language and Music, language: English, abstract: Language and music--both can be found in every human society--are the most basic socio-cognitive domains of the human species. At first glance, they share fundamental similarities, such as being based on acoustic modalities and involving complex sound sequences.
Language, as well as music, functions as a means of communication and a form of expression.
Both systems are organized into hierarchically structured sequences, and a written system was developed for language and for music. The interest in music-language relations has a long history, of course, and does not originate with modern cognitive science: "The topic has long drawn interest from a wide range of thinkers, including philosophers, biologists, poets, composers, linguists, and musicologists.
Over 2, years ago, Plato claimed that the power of certain musical modes to uplift the spirit stemmed from their resemblance to the sounds of noble speech Neubauer, Much later, Darwin considered how a form of communication intermediate between modern language and music may have been the origin of our species' communicative abilities.
Many other historical figures have contemplated music-language relations, including Vincenzo Galilei father of Galileo , Jean-Jacques Rousseau, and Ludwig Wittgenstein. This long line of speculative thinking has continued down to the modern era e. In the era of cognitive science, however, research into this topic is undergoing a dramatic shift, using new concepts and tools to advance from suggestions and analogies to empirical research. But does th. A presentation of music and language within an integrative, embodied perspective of brain mechanisms for action, emotion, and social coordination.
This book explores the relationships between language, music, and the brain by pursuing four key themes and the crosstalk among them: song and dance as a bridge between music and language; multiple levels of structure from brain to behavior to culture; the semantics of internal and external worlds and the role of emotion; and the evolution and development of language.
The book offers specially commissioned expositions of current research accessible both to experts across disciplines and to non-experts. These chapters provide the background for reports by groups of specialists that chart current controversies and future directions of research on each theme.
The book looks beyond mere auditory experience, probing the embodiment that links speech to gesture and music to dance. The study of the brains of monkeys and songbirds illuminates hypotheses on the evolution of brain mechanisms that support music and language, while the study of infants calibrates the developmental timetable of their capacities.
The result is a unique book that will interest any reader seeking to learn more about language or music and will appeal especially to readers intrigued by the relationships of language and music with each other and with the brain.
Contributors Francisco Aboitiz, Michael A.
Music language and the brain patel pdf viewer
Arbib, Annabel J. Parsons, Aniruddh D. Trehub, Paul Verschure. A fascinating and incisive examination of our language instinct from award-winning science writer Steven Mithen.
Music, Language, and the Brain
Along with the concepts of consciousness and intelligence, our capacity for language sits right at the core of what makes us human. But while the evolutionary origins of language have provoked speculation and impassioned debate, music has been neglected if not ignored.
Music and the Brain: The Music of Language and the Language of Music
Like language it is a universal feature of human culture, one that is a permanent fixture in our daily lives. The result is a fascinating and provocative work and a succinct riposte to those, like Steven Pinker, who have dismissed music as a functionless and unimportant evolutionary byproduct.
Language, Music, and the Brain
Online Learning in Music: Foundations, Frameworks, and Practices offers fresh insights into the growth of online learning in music, perspectives on theoretical models for design and development of online courses, principles for good practice in online education, and an agenda for future research.
Author Judith Bowman provides a complete overview of online education in music, including guidelines and accreditation standards for online instruction as well as a look at current research on online learning in music. She also explores several theoretical models for online course design, development, and implementation, before presenting a creative approach to online course design, both for fully online and also for blended courses. As a whole, the book challenges stereotypical views of professors as "sage on the stage" or "guide on the side," characterizing the online professor instead as Director of Learning.
See a Problem?
Necessary reading for all who work in online learning in music, it also suggests important ways both to prevent problems and also to resolve those that do arise.
A comprehensive survey of the latest neuroscientific research into the effects of music on the brain Covers a variety of topics fundamental for music perception, including musical syntax, musical semantics, music and action, music and emotion Includes general introductory chapters to engage a broad readership, as well as a wealth of detailed research material for experts Offers the most empirical and most systematic work on the topics of neural correlates of musical syntax and musical semantics Integrates research from different domains such as music, language, action and emotion both theoretically and empirically, to create a comprehensive theory of music psychology.
The interplay between musical training and speech perception continues to intrigue researchers in the areas of language and music alike.
Historically, language function has been attributed to brain regions localized predominately in left hemisphere, whereas music has been attributed to right hemisphere dominant regions.
Recent studies demonstrating neural overlap for processing speech and music, and enhanced speech perception and production in musicians suggest that these regions may be inextricably intertwined.
The extent of neural overlap between music and speech remains hotly debated, with surprisingly little empirical research exploring specific neural homo-logs and analogs. Nonetheless, the field is well poised to address key empirical questions, in part because of the recent development of new theories that address the neural and developmental interaction between music and language processing in conjunction with the broad availability of sophisticated tools for quantifying brain activity and dynamics.
To understand the overlap of neural structures for language and music processing, research is needed to identify those specific functions of each that influence the other, with areas for enhanced perception of pitch and onset time having already been targeted.
Research is also needed to identify the extent to which this overlap is developed in infancy or early childhood and the process by which it affects neural reorganization, plasticity, and trainability in adulthood. For this research topic, we would like to further explore the relationship between language and music in the brain from two perspectives: 1 understanding the nature of shared neural and cognitive processing for music and language and 2 understanding the developmental trajectory of these neural systems and how they are influenced by experience.
We seek to gather technically diverse original research articles that present new empirical findings relevant to understanding: 1.
When, in the brain, acoustic information becomes processed specifically as language or music. The shared and independent neural structures for processing music and language. How acoustic experiences such as musical training influence overlap of neural structures for language and music. How the overlap of processing regions changes over time due to experiences at any developmental stage. Creativity like Consciousness was once considered too diffuse and abstract a topic for empirical study.
However, in recent years a number of respected scientists have started to research creativity, considering its value and importance within education and the arts. In addition new journals have emerged recently, testifying to a growing interest and acceptance of the topic within the sciences.
Musical Imaginations considers creativity within composition, performance, improvisation, and listening- fundamental concepts of key importance to all aspects of music making. It looks at the effects of music technology on creativity-both positive and negative. The book brings together leading researchers drawn from the fields of music, social, andpositive psychology, and cognitive neuroscience. The past 15 years have witnessed an increasing interest in the comparative study of language and music as cognitive systems.
Language and music are uniquely human traits, so it is not surprising that this interest spans practically all branches of cognitive science, including psychology, computer science, linguistics, cognitive neuroscience, and education. This book presents an interdisciplinary study of language and music, bringing togethera team of leading specialists across these fields.
The volume is structured around four core areas in which the study of music and language has been particularly fruitful: i structural comparisons, ii evolution, iii learning and processing, and iv neuroscience. As such it provides a snapshotof the different research strands that have focused on language and music, identifying current trends and methodologies that have been or could be applied to the study of both domains, and outlining future research directions.
Language and Music as Cognitive Systems will be valuable in promoting the investigation of language and music by fostering interdisciplinary discussion and collaboration.
How can an abstract sequence of sounds so intensely express emotional states? How does music elicit or arouse our emotions? What happens at the physiological and neural level when we listen to music?
How do composers and performers practically manage the expressive powers of music? How have societies sought to harness the powers of music for social or therapeutic purposes?
In the past ten years, research into the topic of music and emotion has flourished. In addition, the relationship between the two has become of interest to a broad range of disciplines in both the sciences and humanities. The Emotional Power of Music is a multidisciplinary volume exploring the relationship between music and emotion. Bringing together contributions from psychologists, neuroscientists, musicologists, musicians, and philosophers, the volume presents both theoretical perspectives and in-depth explorations of particular musical works, as well as first-hand reports from music performers and composers.
In the first section of the book, the authors consider the expression of emotion within music, through both performance and composing. The second section explores how music can stimulate the emotions, considering the psychological and neurological mechanisms that underlie music listening.
The third section explores how different societes have sought to manage and manipulate the power of music. The book is valuable for those in the fields of music psychology and music education, as well as philosophy and musicology.