The study of music and the brain can be traced back to the work of Gall in the 18th century, continuing with John Hughlings Jackson, August Knoblauch, Richard Wallaschek, and others. These early researchers were interested in localizing musicality in the brain and learning more about how music is processed in both healthy individuals and those with dysfunctions of various kinds. Since then, the research literature has mushroomed, especially in the latter part of the 20th and early 21st centuries. The Oxford Handbook of Music and the Brain is a groundbreaking compendium of current research on music in the human brain. It brings together an international roster of 54 authors from 13 countries providing an essential guide to this rapidly growing field.
Section I. Introduction 1: Michael H. Thaut and Donald A. Hodges: The Neuroscientific Study of Music: A New Discipline Section II. Music, the Brain, and Cultural Contexts 2: Michael H. Thaut and Donald A. Hodges: Music through the Lens of Cultural Neuroscience 3: Steve J. Morrison, Steven M. Demorest, and Marcus T. Pearce: Cultural Distance: A computational approach to exploring cultural influences on music cognition 4: Bjorn Merker: When extravagance impresses: Recasting esthetics in evolutionary terms Section III. Music processing in The Human Brain 5: Thenille Braun Janzen and Michael H. Thaut: Cerebral Organization of Music Processing 6: Robin W. Wilkins: Network Neuroscience: An Introduction to Graph Theory Network-Based Techniques for Music and Brain Imaging Research 7: Mike Schutz: Acoustic structure and musical function: Musical notes informing auditory research 8: Christina M Vanden Bosch der Nederlanden, Eric T. Taylor, and Jessica A. Grahn: Neural Basis of Rhythm Perception 9: Stefan Koelsch: Neural Basis of Music Perception: Pitch, Harmony, and Timbre 10: Frank Russo: Multisensory Processing in Music Section IV. Neural Responses to Music: Cognition, Affect, Language 11: Lutz Jancke: Music and Memory 12: Psyche Loui and Rachel Guetta: Music and attention, executive function, and creativity 13: Patrik N. Juslin and Laura S. Sakka: Neural Correlates of Music and Emotion 14: Yuko Koshimori: Neurochemical Responses to Music 15: Elvira Brattico: The neuroaesthetics of music: A research agenda coming of age 16: Daniele Schoen and Benjamin Morillon: Music and Language Section V. Musicianship and Brain Function 17: Virginia B. Penhune: Musical Expertise and Brain Structure: The causes and consequences of training 18: Irma Jarvela: Genomics approaches for studying musical aptitude and related traits 19: Eckart Altenmuller, Shinichi Furuya, Daniel S. Scholz, and Christos I. Ioannou: Brain Research in Music Performance 20: Aaron Berkowitz and Michael G. Erkkinen: Brain Research in Music Improvisation 21: Timothy L. Hubbard: Neural mechanisms of musical imagery 22: Vesa Putkinen and Mari Tervaniemi: Neuroplasticity in Music Learning Section VI. Development al Issues in Music and the Brain 23: Anthony Brandt, L. Robert Slevc, and Molly Gebrian: The Role of Musical Development in Early Language Acquisition 24: Laurel J Trainor and Susan Marsh-Rollo: Rhythm, Meter, and Timing: The heartbeat of musical development 25: L. Ferreri, A. Moussard, E. Bigand, and B. Tillmann: Music and the Aging Brain 26: Swathi Swaminathan and E. Glenn Schellenberg: Music Training and Cognitive Abilities: Associations, Causes, and Consequences 27: Adam Ockelford: The Neuroscience of Children on the Autism Spectrum with Exceptional Musical Abilities Section VII. Music, the Brain, and Health 28: Corene Thaut and Klaus Martin Stephan: Music and Sensorimotor Functions 29: Yune Lee, Corene Thaut, and Charlene Santoni: Music-Induced Speech and Language Rehabilitation 30: Shantala Hegde: Neurologic Music Therapy to target Cognitive and Affective Functions 31: Isabelle Royal, Sebastien Paquette, and Pauline Tranchant: Musical Disorders 32: David Peterson: When blue turns to grey: the enigma of musician's dystonia Section VII. The Future 33: Michael H. Thaut and Donald A. Hodges: New Horizons for Brain Research in Music
Michael H. Thaut serves as Director of the Music and Health Research Collaboratory and holds professorships in music, neuroscience, and rehabilitation science at the University of Toronto Canada. He was awarded a TIER I CANADA RESEARCH CHAIR in 2017. He is the author of over 200 research publications and author/editor of 7 books. He is President of the Society for Clinical Neuromusicology, Vice President of the International Society for Music and Medicine, and serves on the Management Committee of the World Federation of Neurorehabilitation. His internationally recognized pioneering research has advanced the basic and clinical neuroscience of music which also has become the scientific foundation for the development of Neurologic Music Therapy as a new treatment model in brain rehabilitation. Donald A. Hodges served as Covington Distinguished Professor of Music Education and Director of the Music Research Institute (2003-2013) and is currently Professor Emeritus at the University of North Carolina at Greensboro. Hodges is the author of A Concise Survey of Music Philosophy (2017), co-author of Music in the Human Experience: An Introduction to Music Psychology (2011), contributing editor of the Handbook of Music Psychology and the accompanying Multimedia Companion (1980, 1996), co-editor of Oxford Handbook of Music and the Brain (2019), co-editor of Routledge International Handbook on Music Psychology in Education and the Community across the Lifecourse (forthcoming), and author of numerous papers in music psychology and music education. Recent research efforts have included a series of brain imaging studies of pianists, conductors, and singers using PET and fMRI.
Reviews for The Oxford Handbook of Music and the Brain
The editors of The Oxford Handbook of Music and the Brain have compiled an excellent collection of chapters spanning the breadth of this field. This is a comprehensive volume that addresses both methodological and conceptual issues in the neuroscience of music. This volume would be valuable both as a resource for teaching and research, and provides relevant information for researchers with expertise in this area and those looking for a starting point into the neuroscientific study of music. * Amy M. Belfi, Perception *