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Preface ix <p><b>Part I Introductory Chapters 1</b></p> <p><b>1 Ear and Hearing 3</b></p> <p>1.1 The ear 3</p> <p>1.2 Auditory brainstem and thalamus 6</p> <p>1.3 Place and time information 8</p> <p>1.4 Beats, roughness, consonance and dissonance 9</p> <p>1.5 Acoustical equivalency of timbre and phoneme 11</p> <p>1.6 Auditory cortex 12</p> <p><b>2 Music-theoretical Background 17</b></p> <p>2.1 How major keys are related 17</p> <p>2.2 The basic in-key functions in major 20</p> <p>2.3 Chord inversions and Neapolitan sixth chords 21</p> <p>2.4 Secondary dominants and double dominants 21</p> <p><b>3 Perception of Pitch and Harmony 23</b></p> <p>3.1 Context-dependent representation of pitch 23</p> <p>3.2 The representation of key-relatedness 26</p> <p>3.3 The developing and changing sense of key 29</p> <p>3.4 The representation of chord-functions 30</p> <p>3.5 Hierarchy of harmonic stability 31</p> <p>3.6 Musical expectancies 35</p> <p>3.7 Chord sequence paradigms 36</p> <p><b>4 From Electric Brain Activity to ERPs and ERFs 40</b></p> <p>4.1 Electro-encephalography (EEG) 43</p> <p>4.1.1 The 10–20 system 43</p> <p>4.1.2 Referencing 45</p> <p>4.2 Obtaining event-related brain potentials (ERPs) 45</p> <p>4.3 Magnetoencephalography (MEG) 48</p> <p>4.3.1 Forward solution and inverse problem 49</p> <p>4.3.2 Comparison between MEG and EEG 49</p> <p><b>5 ERP Components 51</b></p> <p>5.1 Auditory P1, N1, P2 51</p> <p>5.2 Frequency-following response (FFR) 53</p> <p>5.3 Mismatch negativity 54</p> <p>5.3.1 MMN in neonates 57</p> <p>5.3.2 MMN and music 57</p> <p>5.4 N2b and P300 59</p> <p>5.5 ERP-correlates of language processing 59</p> <p>5.5.1 Semantic processes: N400 60</p> <p>5.5.2 Syntactic processes: (E)LAN and P600 63</p> <p>5.5.3 Prosodic processes: Closure Positive Shift 67</p> <p><b>6 A Brief Historical Account of ERP Studies of Music Processing 70</b></p> <p>6.1 The beginnings: Studies with melodic stimuli 70</p> <p>6.2 Studies with chords 74</p> <p>6.3 MMN studies 75</p> <p>6.4 Processing of musical meaning 76</p> <p>6.5 Processing of musical phrase boundaries 77</p> <p>6.6 Music and action 77</p> <p><b>7 Functional Neuroimaging Methods: fMRI and PET 79</b></p> <p>7.1 Analysis of fMRI data 81</p> <p>7.2 Sparse temporal sampling in fMRI 84</p> <p>7.3 Interleaved silent steady state fMRI 85</p> <p>7.4 ‘Activation’ vs. ‘activity change’ 85</p> <p><b>Part II Towards a New Theory of Music Psychology 87</b></p> <p><b>8 Music Perception: A Generative Framework 89</b></p> <p><b>9 Musical Syntax 98</b></p> <p>9.1 What is musical syntax? 98</p> <p>9.2 Cognitive processes 102</p> <p>9.3 The early right anterior negativity (ERAN) 109</p> <p>9.3.1 The problem of confounding acoustics and possible solutions 113</p> <p>9.3.2 Effects of task-relevance 120</p> <p>9.3.3 Polyphonic stimuli 121</p> <p>9.3.4 Latency of the ERAN 127</p> <p>9.3.5 Melodies 127</p> <p>9.3.6 Lateralization of the ERAN 129</p> <p>9.4 Neuroanatomical correlates 131</p> <p>9.5 Processing of acoustic vs. music-syntactic irregularities 133</p> <p>9.6 Interactions between music- and language-syntactic processing 138</p> <p>9.6.1 The Syntactic Equivalence Hypothesis 145</p> <p>9.7 Attention and automaticity 147</p> <p>9.8 Effects of musical training 149</p> <p>9.9 Development 151</p> <p><b>10 Musical Semantics 156</b></p> <p>10.1 What is musical semantics? 156</p> <p>10.2 Extra-musical meaning 158</p> <p>10.2.1 Iconic musical meaning 158</p> <p>10.2.2 Indexical musical meaning 159</p> <p>Excursion: Decoding of intentions during musinc listening 161</p> <p>10.2.3 Symbolic musical meaning 162</p> <p>10.3 Extra-musical meaning and the N400 163</p> <p>10.4 Intra-musical meaning 170</p> <p>Excursion: Posterior temporal cortex and processing of meaning 166</p> <p>10.4.1 Intra-musical meaning and the N5 171</p> <p>10.5 Musicogenic meaning 177</p> <p>10.5.1 Physical 177</p> <p>10.5.2 Emotional 179</p> <p>10.5.3 Personal 180</p> <p>10.6 Musical semantics 181</p> <p>10.6.1 Neural correlates 181</p> <p>10.6.2 Propositional semantics 182</p> <p>10.6.3 Communication vs. expression 182</p> <p>10.6.4 Meaning emerging from large-scale relations 183</p> <p>10.6.5 Further theoretical accounts 184</p> <p><b>11 Music and Action 186</b></p> <p>11.1 Perception–action mediation 186</p> <p>11.2 ERP correlates of music production 189</p> <p><b>12 Emotion 203</b></p> <p>12.1 What are ‘musical emotions’? 204</p> <p>12.2 Emotional responses to music – underlying mechanisms 207</p> <p>12.3 From social contact to spirituality – The Seven Cs 208</p> <p>12.4 Emotional responses to music – underlying principles 212</p> <p>12.5 Musical expectancies and emotional responses 216</p> <p>12.5.1 The tension-arch 218</p> <p>12.6 Limbic and paralimbic correlates of music-evoked emotions 219</p> <p>12.6.1 Major–minor and happy–sad music 225</p> <p>12.6.2 Music-evoked dopaminergic neural activity 226</p> <p>12.6.3 Music and the hippocampus 227</p> <p>12.6.4 Parahippocampal gyrus 231</p> <p>12.6.5 A network comprising hippocampus, parahippocampal gyrus, and temporal poles 232</p> <p>12.6.6 Effects of music on insular and anterior cingulate cortex activity 232</p> <p>12.7 Electrophysiological effects of music-evoked emotions 233</p> <p>12.8 Time course of emotion 234</p> <p>12.9 Salutary effects of music making 235</p> <p><b>13 Concluding Remarks and Summary 241</b></p> <p>13.1 Music and language 241</p> <p>13.2 The music-language continuum 244</p> <p>13.3 Summary of the theory 249</p> <p>13.4 Summary of open questions 258</p> <p>References 267</p> <p>Index 303</p>

<b>Stefan</b> <b>Koelsch</b> is Professor of Music Psychology at the Freie University Berlin. He is a former post-doctoral research fellow at Harvard Medical School, and led an independent Junior Research Group at the Max Planck Institute for Human Cognitive and Brain Sciences in Leipzig. His main areas of research are neurocognition of music, music and emotion, and music therapy.<br /> <br />

Making and listening to music engages a large array of psychological processes, including perception, attention, learning and memory, syntactic processing, the processing of meaning, and social cognition. This richness makes music the ideal tool to investigate human psychology and the workings of the human brain, and in recent years neuroscientists have increasingly used this tool to inform and extend their ideas. This book offers a comprehensive survey of the current state of knowledge in the cross-disciplinary field of music psychology.<br /> <br /> <p>An expert in his field, Stefan Koelsch establishes basic neuroscientific, music-theoretical, and music-psychological concepts, before presenting the brain correlates of music perception, musical syntax, musical semantics, music and action, and music and emotion.</p> <p>Koelsch synthesizes all these conceptual threads into a new theory of music psychology. His theory integrates different areas such as music, language, action, and emotion that are traditionally treated as separate domains.</p>

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