Neurology of Music
F Clifford Rose
Format: PDF / Kindle (mobi) / ePub
The first British book on neurology in music was published over 30 years ago. Edited by Drs Macdonald Critchley and R A Henson, it was entitled Music and the Brain (published by Wm Heinemann Medical Books), but all of its contributors are now either retired or deceased. Since then, there has been an increasing amount of research, and the present volume includes the most significant of these advances.
The book begins with the evolutionary basis of meaning in music and continues with the historical perspectives, after which the human nervous system is compared to a clavichord, highlighting the use of metaphor in the history of modern neurology. It discusses the neurologist in the concert hall as well as the musician at the bedside by showing how neurology enriches musical perception, the main theme being the cerebral localisation of music production and perception. The book also emphasises the value of teaching singing to treat speech disorders and the importance of nerve compression in musicians, the final chapter being on recent techniques of imaging the musical brain.
music agraphia and music alexia in his paper about ‘asymbolia’. Adrien Proust (1872)23 described another musician who could not hum a tune, but could read music notation, play scales and recognise tunes. Carl Wernicke (1874)24 in his Der aphasische Symptomencomplex commented about a woman with aphasia (Susanne A) who could sing, but without the song text. Wernicke (1874) stated: Das Tyrolerlied (Wenn ich zu meinem Kinde geh’), das zufällig von einer anderen Kranken gesungen wurde, singt sie
domains i.e. ‘domain specific intellectual precocity’ or ‘talent’ — which becomes apparent early on in life. Creative individuals have an affinity for their subject, easily building up intense knowledge,11,19,20 which, once acquired, is added to, tapped, sifted and re-associated in future creativity. However, whilst high intelligence is a pre-requisite for exceptional creativity, the reverse is not the case: i.e. not all intelligent people are creative. Likewise across the span of creative
without clocks, but on reflection, the difficulties soon become clear. For how long should we boil an egg? At what time will the tribe gather to go hunting (on a cloudy day)? When should I expect my repaired shoe to be ready? Even clocks are of little help to us in learning how to co-ordinate our activities second-by-second with those of other humans — surely a major factor in our evolutionary success. Since music is unshakeably grounded in time, I believe its evolution alongside that of language
patients with auditory processing disorders (complaints of poor or distorted hearing in the absence of any demonstrable peripheral hearing deficit) might specifically show abnormalities to processing in the temporal domain. Our evidence so far is purely anecdotal, but does suggest that minor disturbance in the timing of eighth nerve activity may sometimes cause distortion of pitch perception, even when the pure tone audiogram is normal. References 1. Fischer, C. et al. (1999). Clin Neurophysiol
Linguistic Typology (2nd ed.). Chicago: University of Chicago Press. 7. Cross, I. (2007). Music and cognitive evolution. In Dunbar, R. I. M. and Barrett, L. (Eds.), Handbook of Evolutionary Psychology, pp. 649–667. Oxford: Oxford University Press. 8. Cross, I. (2008). Musicality and the human capacity for culture. Musicae Scientiae, Special Issue, 127–143. 9. Cross, I. (2009). The evolutionary nature of musical meaning. Musicae Scientiae, Special Issue, 179–200. 10. Cross, I. and Woodruff, G. E.