2010, Number 3
<< Back Next >>
Arch Neurocien 2010; 15 (3)
Neurosciences and music
Buentello GRM, Martínez RAR, Alonso VAA
Language: Spanish
References: 45
Page: 160-167
PDF size: 230.72 Kb.
ABSTRACT
Music is the ordered combination of sounds through time. In order to perceive, interpret and create it, composing or playing a musical instrument, different cognitive abilities must work together. It is perceived and prompts emotions in every human being. Since birth, newborns react favorably to consonant sounds and to the melodic pattern of their mothers’ voices, having been present in every human society since the origins of man. Some hypothesis argue that it has been present long before the appearance of man (without artistic value), in the form of animal strategies to reproduce or socialize. New metabolic and functional neurological imaging technology and the study of some musician and non-musician patients suffering neurological diseases have begun reveal and unveil neuronal systems for music. Musicians perceive music in a different way than the general population because they process it in their left hemisphere and possess specific regional asymmetries in primary motor and auditory cortexes. Some musicians develop perfect pitch, which is defined as the ability of a person to identify or re-create a given musical note without the benefit of an external reference. New research on the subject is needed to better identify neural networks and general cerebral function when listening to or creating music.
REFERENCES
Zaidel Dahlia. Neuropsychology of art. Neurological, cognitive, and evolutionary perspectives. 1ª Edición. Great Britain. Ed. Psychology Press 2005.
Ramos Samuel. Filosofía de la vida artística. Editorial Espasa-Calpe Mexicana, 3ª Edición, México 1976, 141. (Colección Austral No. 974).
Zatorre Robert and Mc Gill James. Music food of neuroscience? Nature 2005;434,17.
Bas Julio. Tratado de la forma musical. Ricordi Americana, Buenos Aires Argentina.
Leutwyler Kristin. Exploring the musical brain. Music may be even more ancient than the human race, over which it holds tremendous sway. Scientists are beginning to find out why. Scientific American. January 22, 2001 (Digital).
Weinberger Norman. Music and the brain. Scientific American Special Ed. Secrets of senses 2006;16(3). 11. Ball Philip. Facing the music. Nature 2008;453,160-2.
Jay Gould Stephen. The Evolution of Life on Earth. Scientific American Special. Edition 1994, 84-91.
Mcdermott Josh. The evolution of music. Nature, 2008; 453: 287-8.
Hauser Marc and McDermott Josh. The evolution of the music faculty: a comparative perspective. Nature Neuroscience, Vol. 6, No. 7, July 2003.
Estêvao Paulo and Bhattacharya Joydeep. Brain tuned to music. Journal of the Royal Society of Music. Vol. 96, june 2003.
Whitfield, John. Paging Dr. Doolittle. The “language” gene FOXP2 proves critical for animals vocalizations. Scientific American News Scan 2008;298(1):13-4.
Macneilage Peter, Rogers Lesley, Vallortigara Giorgio. Origins of the left and right brain. Scientific American 2009;301:1.
Peretz Isabelle, Bood Anne, Penhune Virginia, Zatorre Robert. Cortical deafness to dissonance. Brain 2001;124:928-40.
Trehub Sandra. The developmental origins of musicality. Nature Neuroscience 2003;6:7.
Johnsrude Ingrid, Zatorre Robert, Milner Brenda and Evans Alan. Left-hemisphere specialization for the processing of acoustic transients. Neuroreport 1997;8:1761-5.
Chen Joyce, Zatorre Robert, Penhune Virginia. Interactions between auditory and dorsal premotor cortex during synchronization to musical rhytms. NeuroImage 2006;1771-81.
Blood Anne, Zatorre Robert, Bermudez Patrick and Evans Alan. Emotional responses to pleasant and unpleasant music correlate with activity in paralimbic regions. Nature Neurosciencie 1999;2: 4.
Hyde Krysta, Peretz Isabelle and Zatorre Robert. Evidence for the role of the right auditory cortex in fine pitch resolution. Neuropsychologia XXX (2007) XXX-XXX
Afifi Adel K, Bergman Ronald A. Neuroanatomía funcional, Editorial McGraw Hill Interamericana, 2ª Edición, México D.F. 2006:250.
Bernardi L, Porta C, Sleight P. Cardiovascular, cerebrovascular, and respiratory changes induced by different types of music I musicians and non-musicians: the importance of silence. Heart 2006; 92: 445-52.
Arias Manuel. Música y neurología. Neurología 2007;22(1):39-45.
Koelsch Stefan and Sammler Daniela. Cognitive Components of Regularity Processing in the Auditory Domain. PLoS One. 3(7): e2650, July 2008.
Halpern Andrea, Zatorre Robert, Bouffard Marc, Johnson Jennifer. Behavioral and neural correlates of perceived and imagined musical timbre. Neuropsychologia 42 (2004) 1281-1292.
Zatorre Robert and Halpern Andrea. Mental Concert: Musical imagery and auditory cortex. Neuron, Vol. 47, pp. 9-12, July 2005.
Bermudez Patrick and Zatorre Robert. Conditional Associative Memory for Musical Stimuli in Nonmusician: Implications for Absolute Pitch. The Journal of Neuroscience 2005;24:25(34):7718-23.
Zatorre Robert, Evans Alan, Meyer Ernst and Gjedde Albert. Lateralization of phonetic and pitch discriminating in speech processing. Science, Vol. 256, May 1992.
Penhune V. B., Zatorre R. and Evans A . Cerebellar Contributions to motor timing: a PET study of auditory and visual rhythm reproduction. Journal of Cognitive Neuroscience 10:6,752-765, 1998.
Koelsch Stefan, Gunter Thomas, Cramon D. Yves, Zysset Stefan, Lohmann Gabriele and Friederici Angela. Bach speaks: a cortical “language-network” serves the procedding of music. NeuroImage 2002; 17, 956-66.
Swaminathan Nikhil. Fact or fiction?: Babies Exposed to Classical Music End Up Smarter. Scientific American Fact or Fiction -September 13, 2007(Digital)
Graham Sarah. Musical Training Aids Memory. Scientific American, July 28, 2003 (Digital)
Zarate Jean and Zatorre Robert. Experience-dependent neural substrates involved in vocal pitch regulation during singing. NeuroImage xx (2008) xxx-xxx.
Belin Pascal, Zatorre Robert, Ahad Pierre. Human temporal-lobe response to vocal sounds. Cognitive Brain Research 2002;13:17-26.
Blood Anne, Zatorre Robert. Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion. PNAS, Vol. 98, No 20, September 2001.
Salimpoor Valorie, Benovoy Mitchel, Longo Gregory, Cooperstock Jeremy and Zatorre Robert. The rewarding aspects of music listening are related to degree of emotional arousal. PLoS ONE, Vol. 4, No. 10, e7487, October 2009.
Lerner Yulia, Papo David, Zhdanov, Belozersky Libi and Hendler Talma. Eyes wide shut: amygdale mediates eyes-closed effect on emotional experience with music. PLoS ONE, Vol. 4, No. 7, July 2009.
Molnar-Szakacs Istvan, Overy Katie. Music and mirror neurons: from motion to ´e´motion. SCAN (2006) 1, 235-41.
Ukkola Liisa, Onkamo Päivi, Raijas Pirre, Karma Kai and Järvela Irma. Musical Aptitude is Associated with AVPR1A-Haplotypes. PLoS ONE, vol 4, No 5, May 2009.
Mirsky Steve. Musical Ability Connected to Genes. Scien Ame, June 30, 2008, (Digital).