Music, the brain, the mind, and the heart

Autori/Curatori Victor Ginsburgh, Stephane Ginsburgh
Anno di pubblicazione 2014 Fascicolo 2014/1 Lingua Inglese
Numero pagine 21 P. 83-103 Dimensione file 71 KB
DOI 10.3280/POLI2014-001005
Il DOI è il codice a barre della proprietà intellettuale: per saperne di più clicca qui

Qui sotto puoi vedere in anteprima la prima pagina di questo articolo.

Se questo articolo ti interessa, lo puoi acquistare (e scaricare in formato pdf) seguendo le facili indicazioni per acquistare il download credit. Acquista Download Credits per scaricare questo Articolo in formato PDF

Anteprima articolo

FrancoAngeli è membro della Publishers International Linking Association, Inc (PILA)associazione indipendente e non profit per facilitare (attraverso i servizi tecnologici implementati da l’accesso degli studiosi ai contenuti digitali nelle pubblicazioni professionali e scientifiche

The paper draws on the aesthetic theory and on the cognitive neuroscience approach of music, as well as on music history to try to convince Frederic Scherer that he should listen to music composed after Mahler.

Keywords:Neuroscienza cognitiva della musica, filosofia della musica, storia della musica, musica del ventesimo secolo

Jel codes:Z10, Z11

  1. Adorno T., Stockhausen K. 1988. La résistance à l’encontre de la nouvelle musique. Contrechamps, 9: 122-142.
  2. Anonymous. 1971. Stockhausen: immer höher. Der Spiegel, February 22.
  3. Arbib M. (ed.) 2013. Language, Music and the Brain. A Mysterious Relationship. MIT Press: Cambridge (Mass.).
  4. Baricco A. 1998. L’âme de Hegel et les vaches du Wisconsin. Paris: Gallimard.
  5. Bigand E., Poulin-Charronat B. 2006. Are we ‘experienced listeners’? A review of the musical capacities that do not depend on formal musical training. Cognition, 100 (1): 100-130, DOI: 10.1016/j.cognition.2005.11.007
  6. Bigand E., Delbé C. 2010. L’apprentissage implicite de la musique occidentale, in Kolinski R., Morais J., Peretz I. (eds.) Musique, Langage, Emotion. Presses Universitaires de Rennes: Rennes.
  7. Biset-Bentchikou C., Estache A., Ginsburgh V. 2013. happiness and music, unpublished.
  8. Blood A., Zatorre R., Bermudez P., Evans A. 1999. Emotional responses to pleasant and unpleasant music correlate with activity in paralimbic brain regions. Nature Neuroscience, 2 (4): 382-387, DOI: 10.1038/7299
  9. Blood A., Zatorre R. 2001. Intensely pleasurable responses to music correlate with activity in brain regions implicated in reward and emotion. Proceedings of the National Academy of Sciences, 98 (20): 11818-11823, DOI: 10.1073/pnas.191355898
  10. Bodner E., Gilboa A., Amir D. 2007. the unexpected side-effects of dissonance. Psychology of Music, 35 (2): 286-305, DOI: 10.1177/0305735607070381
  11. Brown S., Martinez M., Parsons L. 2006. Music and language side by side in the brain: a PET study of the generation of melodies and sentences. European Journal of Neuroscience, 23 (10): 2791-2803, DOI: 10.1111/j.1460-9568.2006.04785.x
  12. Cage J. 1990. An autobiographical statement, published online.
  13. Clift S., Hancox G. 2001. the perceived benefit of singing. Findings from preliminary surveys of a university college choral society. The Journal of the Royal Society for the Promotion of Health, 121 (4): 248-256, DOI: 10.1177/146642400112100409
  14. Clift S., hancox G. 2010. the significance of choral singing for sustaining psychological wellbeing: findings from a survey of choristers in England, Australia and Germany. Music and Health, 3 (1): 79-96.
  15. Darwin C. 1871. The Descent of Man. John Murray: London.
  16. Daynes h. 2011. Listeners’ perceptual and emotional responses to tonal and atonal music. Psychology of Music, 39 (4): 468-502, DOI: 10.1177/0305735610378182
  17. de Chabanon M.-P.-G. 1785. De la musique considérée en elle-même et dans ses rapports avec la parole, les langues, la poésie et le theâtre. Pissot: Paris.
  18. Drescher J. 2013. Letter to the editor. The New York Times, May 28.
  19. Dunbar R., Kaskatis K., MacDonald I., Barra V. 2012. Performance of music elevates pain threshold and positive affect: implications for the evolutionary function of music. Evolutionary Psychology, 10 (4): 688-702.
  20. Eerola T., Himberg T., Toiviainen P., Louhivuori J. 2006. Perceived complexity of Western and African folk melodies by Western and African listeners. Psychology of Music, 34 (3): 337-371, DOI: 10.1177/0305735606064842
  21. Even D. 2013. Premature babies prefer Mozart to Bach, Israeli study finds. Haaretz, July 3.
  22. Gillies M. (ed.) 1991. Bartok Remembered. W.W. Norton: Scranton.
  23. Hanslick E. 1986. On the Musically Beautiful. Hacket: Indianapolis.
  24. Hargreaves D. 1984. The effects of repetition on liking of music. Journal of Research in Music Education, 32 (1): 35-47, DOI: 10.2307/3345279
  25. Henze H.W. 1982. Music and Politics: Collected Writings, 1953-1981. Faber and Faber: London.
  26. Hume D. 1965. On the Standard of Taste and Other Essays. the Bobbs-Merrill Company: Indianapolis.
  27. Huron D. 2001. Is music an evolutionary adaptation?. Annals of the New York Academy of Sciences, 930 (1): 43-61, DOI: 10.1111/j.1749-6632.2001.tb05724.x
  28. Huron D. 2005. The plural pleasures of music, in Sundberg J., Brunson W. (eds.) Proceedings of the 2004 Music and Music Science Conference. Kungliga Musikhögskolan & Kth: Stockholm.
  29. Husain G., Thompson W., Schellenberg G. 2002. Effects of musical tempo and mode on arousal, mood and spatial abilities. Music Perception, 20 (2): 151-171, DOI: 10.1525/mp.2002.20.2.151
  30. Iwanaga M., Muroki Y. 1999. Subjective and physiological responses to music stimuli controlled over activity and preference. Journal of Music Therapy, 36 (1): 26-38, DOI: 10.1093/jmt/36.1.26
  31. Iwanaga M., Kobayashi A., Kawasaki C. 2005. heart rate variability with repetitive exposure to music. Biological Psychology, 70 (1): 61-66, DOI: 10.1016/j.biopsycho.2004.11.015
  32. Johnson J. 2002. Who Needs Classical Music? Cultural Choice and Musical Value. Oxford University Press: Oxford, DOI: 10.1093/acprof:oso/9780195146813.001.0001
  33. Kivy P. 1980. The Corded Shell: Reflections on Musical Expression. Princeton University Press: Princeton.
  34. Kivy P. 2012. Sounding Off: Eleven Essays in the Philosophy of Music. Oxford University Press: Oxford.
  35. Kostelanetz R. 1970. Conversation with John Cage, in Kostelanetz R. (ed.) The Theatre of Mixed Means. Pitman: London.
  36. Kreutz G., Ott U., teichmann D., Osawa P., Vaitl D. 2007. Using music to induce emotions: influences of musical preference and absorption. Psychology of Music, 36 (1): 101-126, DOI: 10.1177/0305735607082623
  37. Krumhansl C. 1997. An exploratory study of musical emotions and psychophysiology. Canadian Journal of Experimental Psychology, 51 (4): 336-352, DOI: 10.1037/1196-1961.51.4.336
  38. Labbé E., Schmidt n., Babin J., Pharr M. 2007. Coping with stress: the effectiveness of different types of music. Applied Psychophysiology Biofeedback, 32 (3-4): 163-168, DOI: 10.1007/s10484-007-9043-9
  39. Levinson J. 1981. Review of the ‘the corded shell’ by Peter Kivy. Canadian Philosophical Reviews, 1 (1): 148-152.
  40. Levinson J. 1990. Artworks and the future, in Levinson J. (ed.) Music, Art and Metaphysics. Cornell University Press: Ithaca.
  41. Levinson J. 1996. Work and oeuvre, in Levinson J. (ed.) The Pleasures of Aesthetics. Cornell University Press: Ithaca.
  42. Levitin D. 2009. The World in Six Songs. Plume: new York.
  43. Lundqvist L.-O., Carlsson F., hilmersson P., Juslin P. 2009. Emotional responses to music: Experience, expression, and physiology. Psychology of Music, 37 (1), 61-90, DOI: 10.1177/0305735607086048
  44. Massin B., Massin J. 1967. Beethoven. Fayard: Paris.
  45. Menger P.-M. 1983. Le paradoxe du musicien. Le compositeur, le mélomane et l’Etat dans la société contemporaine. Flammarion: Paris.
  46. Miranda R., Ullman M. 2007. Double dissociation between rules and memory in music: an event-related potential study. Neuroimage, 38 (2): 331-345, DOI: 10.1016/j.neuroimage.2007.07.034
  47. Möckel M., Röcker L., Störk t., Vollert J., Danne O., Eichstädt H., Müller R., Hochrein H. 1994. Immediate physiological responses of healthy volunteers to different types of music: cardiovascular, hormonal and mental change. European Journal of Applied Physiology and Occupational Physiology, 69 (3): 451-459, DOI: 10.1007/BF00599512
  48. Mohn C., Argstatter h., Wilker F.-W. 2011. Perception of six basic emotions in music. Psychology of Music, 39 (4): 503-517, DOI: 10.1177/0305735610378183
  49. Nestroy J. 1842. Einen Jux will er sich machen, published online.
  50. Nozaradan S. 2013. Exploring the Neural Entrainment to Musical Rhythms and Meter: A Steady-State Evoked Potential Approach. PhD dissertation, unpublished.
  51. Panksepp J. 1995. The emotional sources of ‘chills’ induced by music. Music Perception, 13 (2): 171-207, DOI: 10.2307/40285693
  52. Panksepp J., Bernatzky G. 2002. Emotional sounds and the brain: the neuro-affective foundations of musical appreciation. Behavioural Processes, 60 (2): 133-155, DOI: 10.1016/S0376-6357(02)00080-3
  53. Peretz I., Blood A., Penhune V., Zatorre R. 2001. Cortical deafness to dissonance. Brain, 124 (5): 928-940, DOI: 10.1093/brain/124.5.928
  54. Peretz I., Zatorre R. 2005. Brain organization for music processing. Annual Review of Psychology, 56 (1): 89-114, DOI: 10.1146/annurev.psych.56.091103.070225
  55. Pinker S. 1997. How the Mind Works. W.W. Norton: New York-London.
  56. Preminger S. 2012. Transformative art: art as a means for long-term neurocognitive change. Frontiers in Human Neuroscience, 6 (1): 1-7.
  57. Quignard P. 2009. La barque silencieuse. Gallimard: Paris.
  58. Rauscher F., Shaw G., Ky K. 1993. Music and spatial task performance. Nature, 365 (6447): 611, DOI: 10.1038/365611a0
  59. Rauscher F., Shaw G., Ky K. 1995. Listening to Mozart enhances spatial-temporal reasoning: towards a neurophysiological basis. Neuroscience Letters, 185 (1): 44-47, DOI: 10.1016/0304-3940(94)11221-4
  60. Rohrmeier M., Cross I. 2009. tacit tonality: implicit learning of context-free harmonic structure, in Louhivuori J., Eerola T., Saarikallio S., himberg T., Eerola P.-S. (eds.) Proceedings of the 7th Triennial Conference of the European Society for Cognitive Sciences of Music. Jyväskylä, August 12-16.
  61. Rosen C. 1971. The Classical Style: Haydn, Mozart, Beethoven. W.W. Norton: New York-London.
  62. Salimpoor V., Benovoy M., Longo G., Cooperstock J., Zatorre R. 2009. The rewarding aspects of music listening are related to degree of emotional arousal. PLoS One, 4 (10): 7487-7498, DOI: 10.1371/journal.pone.0007487
  63. Salimpoor V., Benovoy M., Larcher K., Dagher A., Zatorre R. 2011. Anatomically distinct dopamine release during anticipation and experience of peak emotion to music. Nature Neuroscience, 14 (2): 257-262, DOI: 10.1038/nn.2726
  64. Sammler D., Grigutsch M., Ritz t., Koelsch S. 2007. Music and emotion: electrophysiological correlates of the processing of pleasant and unpleasant music. Psychophysiology, 44 (2): 293-304, DOI: 10.1111/j.1469-8986.2007.00497.x
  65. Saville A. 1982. The Test of Time. Clarendon: Oxford.
  66. Scherer F.M. 2004. Quarter Notes and Bank Notes: The Economics of Music Composition in the Eighteenth and Nineteenth Centuries. Princeton University Press: Princeton.
  67. Scherer F.M. 2006. The evolution of music markets, in Ginsburgh V., Throsby D. (eds.) 2006. Handbook of the Economics of Art and Culture. Elsevier: Amsterdam New York.
  68. Schönberg A. 1974. Berliner Tagebuch. Propyläen Verlag: Frankfurt.
  69. Shultis C. 1995. Silencing the sounded self: John Cage and the intentionality of nonintention. The Music Quartely, 79 (2): 312-350.
  70. Stewart L. 2008. Do musicians have different brains?. Clinical Medicine, 8 (3): 304-308, DOI: 10.7861/clinmedicine.8-3-304
  71. Straus J. 1999. The myth of serial tyranny in the 1950s and 1960s. The Musical Quarterly, 83 (3): 301-343, DOI: 10.1093/mq/83.3.301
  72. Stravinsky I. 1936. An Autobiography. Calder and Boyars: London.
  73. Thompson W., Schellenberg G., Husain G. 2001. Arousal, mood, and the Mozart effect. Psychological Science, 12 (3): 248-251, DOI: 10.1111/1467-9280.00345
  74. Unwin M., Kenny D., Davis P. 2002. the effects of group singing on mood. Psychology of Music, 30 (2): 175-185, DOI: 10.1177/0305735602302004
  75. Zatorre R. 2003. Music and the brain. Annals of the New York Academy of Sciences, 999 (1): 4-14, DOI: 10.1196/annals.1284.001

  • History, statistics and theory: Frederic M. Scherer and modern industrial organization Giovanni B. Ramello, Francesco Silva, in ECONOMIA E POLITICA INDUSTRIALE 1/2014 pp.5
    DOI: 10.3280/POLI2014-001001

Victor Ginsburgh, Stephane Ginsburgh, Music, the brain, the mind, and the heart in "ECONOMIA E POLITICA INDUSTRIALE " 1/2014, pp 83-103, DOI: 10.3280/POLI2014-001005