Читать книгу "Музыка и мозг - Гейр Ульве Скейе"

Bidelman, G. M. og Krishnan, A.: «Neural correlates of consonance, dissonance, and the hierarchy of musical pitch in the human brainstem». Journal of Neuroscience 2009; 29: 13165–13171.

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Bregman, A. S.: «Auditory scene analysis». I Basbaum, A. I., Koneko, A., Shepherd, G. M. og Westheimer, G. (red.): The Senses: A Comprehensive Reference, Vol. 3, s. 861–870. Academic Press, San Diego, 2008.

González-García, N., González, M. A. og Rendón, P. L.: «Neural activity related to discrimination and vocal production of consonant and dissonant musical intervals». Brain Res. 2016; 15: 59–69.

Isacoff, S.: Temperament: How music became a battleground for the great minds of western civilization. Vintage books, Penguin Random House, New York, 2003.

Jourdain, R.: Music, the Brain, and Ecstasy — How music captures our imagination. William Morrow Paperbacks, 2008.

Tramo, M. J., Cariani, P. A., Delgutte, B. og Braida, L. D.: «Neuro-biological foundations for the theory of harmony in western tonal music». Annals of the New York Academy of Sciences, 2001; 930: 92–116.

Virtala, P., Huotilainen, M., Partanen, E., Fellman, V. og Tervaniemi, M.: «Newborn infants' auditory system is sensitive to Western music chord categories». Frontiers in Psychology 2013; 7: 492. doi: 10.3389/fpsyg.2013.00492.

Ритм

Chatwin, B.: The songlines. Vintage books, Penguin Random House, London, 1987.

Hannon, E. E.: «Perceiving speech rhythm in music: listeners classify instrumental songs according to language of origin». Cognition 2009; 111: 404–10.

Канеман Д. Думай медленно… решай быстро. — М.: АСТ, 2014.

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Patel, A. D., Iversen, J. R. og Rosenberg, J. C.: «Comparing the rhythm and melody of speech and music: the case of British English and French». The Journal of the Acoustical Society of America 2006; 119: 3034–47.

Shaw, J.: The Memory Illusion — Remembering, Forgetting, and the Science of False Memory. Random House Books, New York, 2017.

Soley et al.: «Infants prefer the musical meter of their own culture: A cross-cultural comparison». Developmental Psychology. 2010; 46: 286–292.

Steinbeis, N. og Koelsch, S.: «Understanding the intentions behind man-made products elicits neural activity in areas dedicated to mental state attribution». Cerebral Cortex 2009; 19: 619–23.

Vuust, P., Gebauer, L. K. og Witek, M. A.: «Neural underpinnings of music: the polyrhythmic brain». Advances in Experimental Medicine and Biology 2014; 829: 339–56.

От музыки — к эмоции

Arjmand, H. A., Hohagen. J., Paton., B. og Rickard, N. S.: «Emotional Responses to Music: Shifts in Frontal Brain Asymmetry Mark Periods of Musical Change». Frontiers in Psychology 2017; 8: 2044.

Beaty, R. E.: «The neuroscience of musical improvisation». Neuroscience and biobehavioral reviews 2015; 51: 108–117.

Bode, S. og Hanxi, A. et al.: «Decisions using ultra-high field fMRI». PLOS One 2011; 6: e21612.

Curtis, M. E. og Bharucha, J. J.: «The minor third communicates sadness in speech, mirroring its use in music». Emotion 2010; 10: 335–48.

Damasio, A. R.: The feeling of what happens. Body and Emotion in the Making of Consciousness. Harcourt Brace & Company, New York, 1999.

Deutsch, D., North, T. og Ray, L.: «The tritone paradox: correlate with the listener's vocal range for speech». Music Perception 1990; 7: 371–384.

Juslin, P. N.: «From everyday emotions to aesthetic emotions: towards a unified theory of musical emotions». Physics of Life Reviews 2013; 10: 235–66.

Koelsch, S., Fritx, D. Y., Müller, K. og Friederici, A. D.: «Investigating emotion with music: an fMRI study». Human Brain Mapping 2006; 27: 239–250.

Limb, C. L. og Braun, A. R.: «Neural substrates of spontaneous musical performance. An fMRI study of jazz improvisation». PLOS One 2008; 3: e1679.

Patel, A. D., Iversen, J. R. og Rosenberg, J. C.: «Comparing the rhythm and melody of speech and music: the case of British English and French». The Journal of the Acoustical Society of America 2006; 119: 3034–47.

Pinho, A., de Manzano, Ö., Fransson, P., Eriksson, H. og Ullén, F.: «Connecting to create: expertise in musical improvisation is associated with increased functional connectivity between premotor and prefrontal areas». Journal of Neuroscience 2015; 34: 6156–6163.

Poon, M. og Schutz, M.: «Cueing musical emotions: An empirical analysis of 24-piece sets by Bach and Chopin documents parallels with emotional speech». Frontiers in Psychology 2015; 2; 6: 1419.

Pressing, J.: «Improvisation: methods and models». I: Sloboda, J. A. (red.): Generative Processes in Music: The Psychology of Performance, Improvisation, and Composition. Clarendon Press, Oxford, 1988.

Rizzolatti, G., Sinigaglia, C. og Anderson, F.: Mirrors in the brain: how our minds share actions and emotions. Oxford University Press, Oxford, 2008.

Sachs, M. E., Damasio, A. og Habibi, A.: «The pleasures of sad music: a systematic review». Frontiers in Human Neuroscience 2015; 9: 404.

Shoemark, H., Hanson-Abromeit, D. og Stewart, L.: «Constructing optimal experience for the hospitalized newborn through neuro-based music therapy». Frontiers in Human Neuroscience 2015; 9: 487.

Trehub, S.E, Ghazban, N. og Corbeil, M.: «Musical affect regulation in infancy». Annals of the New York Academy of Sciences 2015; 1337: 186–92.

Trondalen, G. og Oveland, S.: «The Bonny Method of Guide Imagery and Music (BMGIM)». I: Trondalen, G. og Ruud, E.: Perspektiver på musikk og helse. 30 år med norsk musikkterapi. Skriftserie fra Senter for musikk og helse. NMH-publikasjoner, 2008: 3.

Нейропластичность

Chaudhury, S., Sharma, V. og Kumar, V. et al.: «Activity-dependent synaptic plasticity modulates the critical phase of brain development». Brain and Development 2016; 38: 355–63.

Kempermann, G., Gage, F. H. og Aigner, L. et al.: «Human Adult Neurogenesis: Evidence and Remaining Questions». Cell Stem Cell. 2018; 23: 25–30.

Kim, S. G. og Knösche, T. R.: «On the Perceptual Subprocess of Absolute Pitch». Frontiers in Neuroscience 2017; 11: 557. doi: 10.3389/fnins.2017.00557.