Neurology Of Music

F Clifford Rose

• Publisher: ICP
• Year: 2010
• Print ISBN: 9781848162686, 9781848162686
• eBook ISBN: 9781848162693
• Topic: Biological Sciences
• Subtopic: Neurology
• Index: Biological Sciences

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.

Table of contents

• Contents
• Preface
• The Mansell Bequest Symposia of the Medical Society of London
• List of Contributors
• Abbreviations
• Chapter 1. The Evolutionary Basis of Meaning in Music: Some Neurological and Neuroscientific Implications Ian Cross
• Chapter 2. Historical Perspectives on the Study of Music in Neurology Julene K. Johnson, Amy B. Graziano, and Jacky Hayward
• Chapter 3. The Creative Brain: Fundamental Features, Associated Conditions and Unifying Neural Mechanisms Stavia Blunt
• Chapter 4. The Neurologist in the Concert Hall and the Musician at the Bedside George K. York III
• Chapter 5. The Human Nervous System — A Clavichord? On the Use of Metaphors in the History of Modern Neurology Frank Stahnisch
• Chapter 6. The Musician’s Brain as a Model for Adaptive and Maladaptive Plasticity Eckart Altenmüller
• Chapter 7. Temporal Co-ordination of the Two Hands in Playing the Violin Mario Wiesendanger
• Chapter 8. Music as a Calibrator of Time: Auditory Processing Steve Jones
• Chapter 9. Musical Reading and Writing John Brust
• Chapter 10. ‘Fools at Musick’ — Thomas Willis (1621–1675) on Congenital Amusia Marjorie Lorch
• Chapter 11. Musicogenic Epilepsy Jock Murray
• Chapter 12. Musical Hallucinations Stefan Evers
• Chapter 13. Migraine Aura as Source of Artistic Inspiration in the German ‘Dark Chanteuse’ Alwa Glebe Klaus Podoll
• Chapter 14. Musical Palinacousis as an Aura Symptom in Persistent Aura without Infarction Klaus Podoll
• Chapter 15. Coloured-Hearing Synaesthesia in Nineteenth-Century Italy Lorenzo Lorusso and Alessandro Porro
• Chapter 16. Crossed Wires: Synaesthetic Responses to Music Ivan Moseley
• Chapter 17. The Recognition of Music in Frontotemporal Lobar Degeneration Julene K. Johnson
• Chapter 18. Maurice Ravel and the Music of the Brain Ola Selnes
• Chapter 19. Cerebrovascular Disorders of Baroque Composers Tomislav Breitenfeld, Darko Breitenfeld, and Vida Demarin
• Chapter 20. From Sensibility to Madness in Nineteenth-Century Romanticism — Neurosyphilis in German-Speaking Composers Hansjörg Bäzner and Michael Hennerici
• Chapter 21. Singing: When It Helps Gottfried Schlaug
• Chapter 22. Singing Improves Word Production in Patients with Aphasia Geir Olve Skeie, Torun Einbu, and Johan Aarli
• Chapter 23. Nerve Compression Syndromes in Musicians — A Surgeon’s View Ian Winspur
• Chapter 24. Focal Hand Dystonia Affecting Musicians Katherine Butler
• Index