Music, neurology, and neuroscience : historical connections and perspectives / edited by Eckart Altenmuller, Stanley Finger, Francois Boller.

Series
Edition
  • First edition.
Published
  • Amsterdam, Netherlands ; Oxford, England ; Waltham, Massachusetts : Elsevier 2015
Physical description
1 online resource (441 pages)
ISBN
  • 0-444-63410-X
  • 0-444-63399-5
Notes
  • Description based upon print version of record.
  • English
  • Includes bibliographical references and index.
  • Description based on online resource; title from PDF title page (ebrary, viewed February 28, 2015).
Contents
  • Front Cover; Music, Neurology, and Neuroscience: Historical Connections and Perspectives; Copyright ; Contributors; Contents; Preface; Recommended Additional Readings; Part 1: History of neuroscience; Chapter 1: Franz Joseph Gall and music: the faculty and the bump; 1. A Brief Summary of Gall's Life; 2. Abstract and Newer Faculties; 3. Methodology and Cortical Localization; 4. The ""Faculty of Perceiving the Relations of Tones, Talent for Music""; 5. Before and After; Acknowledgments; References; Chapter 2: Music, neurology, and psychology in the nineteenth century; 1. Introduction
  • 2. Brain Processing of Music2.1. Music Perception and Cognition; 2.2. Tonvorstellung; 2.3. Localization of Music Function and Listening Types; 3. Music as an Expression of Emotion; 4. Richard Wallaschek-Synthesis of Music, Neurology and Psychology; 5. Summary; References; Part 2: Aphasia and singing; Chapter 3: Singing by speechless (aphasic) children: Victorian medical observations; 1. Introduction; 2. Historical Context; 2.1. Biographical Background on the Work of John Hughlings Jackson; 2.2. Larger Historical Medical Context; 3. Cases of Singing in Speechless Patients
  • 3.1. Jackson's Observations on Singing in Speechless Patients3.2. Jackson on Children's Expression and Musical Abilities; 3.3. Jackson's ""Singing by Speechless (Aphasic) Children"" (1871); 3.4. Cases of Singing in Speechless Children Recorded at Great Ormond Street; 4. Later Observations; 4.1. Continuing Interest in Singing Abilities with ``Loss of Speech ́ ́; 4.2. French Interest in the Musical Abilities of Aphasic Patients; 5. Discussion and Conclusions; References; Chapter 4: Some early cases of aphasia and the capacity to sing; 1. Introduction
  • 2. Eighteenth-century Observations of Singing in Aphasia2.1. Dalin and the Mute Who Could Sing Hymns; 2.2. Gesner and the Abbot Who Could Not Sing; 2.3. The Singing Origins of Language; 2.4. Additional Consideration of Singing and Speaking in the Eighteenth Century; 3. Nineteenth-century Observations of Singing in Aphasia; 3.1. Jackson and Singing as an Expression of Emotional Language; 3.2. Falret and the Capacity to Sing in Aphasia; 3.3. Kussmaul's Synthesis in 1877; 3.4. Other Observations About Singing in Aphasia Prior to 1880; 4. Summary; References; Part 3: Pathological connections
  • Chapter 5: Benjamin Franklin and his glass armonica: from music as therapeutic to pathological1. Benjamin Franklin; 2. Glass as a Musical Instrument; 3. Franklin's Path to the Armonica; 4. Manipulating Passions with Musical Glasses; 5. Franklin on the Armonica and Manipulating the Passions; 6. Treating Melancholy and Hysteria in London; 7. On Music's Utility; 7.1. Empirical Medicine; 7.2. The ""Psychologist""; 7.3. Medical Theories; 8. Applause and an ""emotional"" digression; 9. Fears and Accusations; 10. Franklin on Armonica-caused Health Concerns; 10.1. Innovations and Improvements
  • 10.2. Psychology and Medical Fads
Other names
Related item
Genre
  • Bibliography
  • Electronic books.
  • Illustrated
  • text
Language
  • English
  • Music, Neurology, and Neuroscience: Historical Connections and Perspectives provides a broad and comprehensive discussion of history and new discoveries regarding music and the brain, presenting a multidisciplinary overview on music processing, its effects on brain plasticity, and the healing power of music in neurological and psychiatric disorders. In this context, the disorders that plagued famous musicians and how they affected both performance and composition are critically discussed, as is music as medicine and its potential health hazard. Additional topics, including the way musi

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