Levitin;
Your Brain on Music |
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Topic |
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Levitin; Your Brain on Music |
55 |
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Rhythm, meter, and tempo |
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Levitin; Your Brain on Music |
55 |
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Rhythm refers to lengths of
notes. |
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Levitin; Your Brain on Music |
56 |
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Tempo
refers to the pace of a piece of music. (rate
at which you would tap your foot to it) |
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1 |
Levitin; Your Brain on Music |
56 |
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Meter
refers to when you tap your foot hard versus light, and how the these hard and light taps group together to form larger units. |
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Levitin; Your Brain on Music |
58 |
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Tempo is a major factor in conveying emotion. |
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Levitin; Your Brain on Music |
69 |
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Conventional foam
insert earplugs can block
about 25 db is sound. |
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11 |
Levitin; Your Brain on Music |
69 |
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Loud music saturates the auditory system, causing neurons to fire at their maximum rate. |
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Levitin; Your Brain on Music |
69 |
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Loudness is
one of the seven major elements of music along with pitch, rhythm, melody, harmony, tempo,
and meter. |
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Levitin; Your Brain on Music |
69 |
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Very tiny changes in the loudness have a profound effect on the emotional
communication of music. |
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Levitin; Your Brain on Music |
69 |
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It is the loudness
of notes that determines how they group rhythmically. |
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Levitin;
Your Brain on Music |
72 |
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Brainstem
and the dorsal cochlear nucleus -- structures that are so
primitive that all
vertebrates have them -- can distinguish between consonance and dissonance. |
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3 |
Levitin; Your Brain on Music |
73 |
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Major elements that go into music -- pitch,
timbre, key, harmony, loudness, rhythm, meter,
and tempo. |
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1 |
Levitin; Your Brain on Music |
74 |
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Gestalt principles of grouping -- a set of rules that are taught in every introductory
psychology class. |
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Levitin; Your Brain on Music |
75 |
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In vision,
grouping refers to the way in which elements in the visual world combine or stay separate from one another in
our mental image of
the world. |
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Levitin; Your Brain on Music |
75 |
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Grouping is
partly an automatic process, which means that much of it happens
rapidly in our brains and without our conscious awareness. |
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Levitin; Your Brain on Music |
75 |
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Hermann von Helmholtz, the 19th-century scientists, described grouping as an unconscious process that involved inferencing, or logical deductions about what objects in the world are likely to go together based on a number of features or attributes of the objects. |
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Levitin; Your Brain on Music |
76 |
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Sound grouping occurs also, as well is visual
grouping. |
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Levitin;
Your Brain on Music |
77 |
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The auditory
system relies on a principle of simultaneous onsets. Sounds that begin together -- at the same instant of time -- are perceived as going together in the
grouping sense. |
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Levitin; Your Brain on Music |
78 |
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Our auditory
system is exquisitely
sensitive to what constitutes simultaneous, being able to detect differences in onset times
as short as a few milliseconds. |
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1 |
Levitin; Your Brain on Music |
78 |
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Spatial location is a grouping principle, as our ears tend to group together sound that come from the same relative
position in space. |
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Levitin;
Your Brain on Music |
78 |
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We are not
very sensitive to location in the up-down plane,but we are very sensitive to position and left-right plane and somewhat sensitive to distance in the forward-back plane. |
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Levitin; Your Brain on Music |
78 |
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Our auditory
system assumes that sounds coming from a distant
location in space are probably
part of the same object. |
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Levitin; Your Brain on Music |
78 |
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Amplitude
also affects grouping. Sounds of a similar loudness group together. |
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Levitin; Your Brain on Music |
79 |
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Frequency,
or pitch, is a strong and fundamental consideration
in grouping. |
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1 |
Levitin; Your Brain on Music |
79 |
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The neurobiological
subsystems for the different
attributes of sound separate
early on at low levels of the brain. |
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Levitin; Your Brain on Music |
79 |
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Experience
and attention can have
an influence on grouping,
suggesting that portions
of the grouping process
are under conscious, cognitive control. |
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Levitin; Your Brain on Music |
79 |
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We can now identify specific areas of the brain that are involved in particular aspects of music processing. |
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Levitin;
Your Brain on Music |
82 |
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The dominant view of scientists
today is that the your thoughts, beliefs, and experiences are represented and patterns of
firings -- electrochemical activity -- in the brain. If your brain ceases to function, the mind is gone. |
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3 |
Levitin; Your Brain on Music |
83 |
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Damage to the orbitofrontal cortex can cause dramatic changes in personality. |
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Levitin; Your Brain on Music |
83 |
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Phineas Gage (1848) |
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Levitin; Your Brain on Music |
83 |
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The brain has regional differences of structure and function, but complex personality
attributes are no doubt distributed widely throughout the
brain. |
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Levitin; Your Brain on Music |
83 |
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Human brain
has four lobes -- frontal, temporal, parietal, and occipital -- plus the cerebellum. |
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Levitin;
Your Brain on Music |
83 |
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Frontal lobe
is associated with planning, and with self-control, and with making sense out of the dense and jumbled signals that our senses receive -- the so-called perceptual
organization that the Gestalt
psychologists studied. |
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Levitin; Your Brain on Music |
83 |
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Temporal lobe
is associated with hearing and memory. |
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Levitin; Your Brain on Music |
83 |
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Cerebellum
is involved in emotions
and the planning of movements. |
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Levitin;
Your Brain on Music |
83 |
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Cerebellum
is evolutionarily the oldest part of the brain. Even
many animals, such as a reptiles, that lack the higher brain regions of the cortex still have a cerebellum. |
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Levitin; Your Brain on Music |
83 |
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Lobotomy --
surgical separation of a portion of the prefrontal cortex from the thalamus. |
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Levitin; Your Brain on Music |
83 |
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Musical activity involves nearly every region of the
brain and nearly every
neural subsystem. |
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Levitin; Your Brain on Music |
84 |
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Different aspects of music are handled by different neural
regions.
Brain uses functional segregation for music
processing, and employs a system of feature detectors, which
functioned to analyze specific aspects of the musical signal, such as pitch, tempo, timber, and so on. |
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1 |
Levitin; Your Brain on Music |
84 |
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Some of music processing has points in common
with the operations required to analyze other sounds, understanding speech, for example. |
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Levitin; Your Brain on Music |
84 |
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Understand aspects of speech beyond words, such as sarcasm. |
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Levitin;
Your Brain on Music |
84 |
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Listening to music starts with subcortical
structures -- cochlear
nuclei, brain stem, cerebellum -- and then moves up to auditory cortices on both sides of
the brain. |
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Levitin; Your Brain on Music |
84 |
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Trying to follow
along with music that
you know recruits
regions of the brain including the hippocampus and the inferior frontal cortex. |
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0 |
Levitin; Your Brain on Music |
84 |
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Tapping
along with music, either actually or just in your
mind, involves the cerebellum's timing circuits. |
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0 |
Levitin; Your Brain on Music |
84 |
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Performing music involves the frontal
lobes for the planning
of your behavior as well as the motor cortex in the frontal lobe, and the sensory
cortex,
which provides tactical feedback that you have press the right key on your instrument. |
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Levitin; Your Brain on Music |
84 |
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Reading music involves the visual
cortex and the occipital
lobe. |
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Levitin;
Your Brain on Music |
84 |
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Listening to or recalling music lyrics involves language centers, including Broca's and Wernicke's areas, as well as other language
centers in the temporal
and frontal lobes. |
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Levitin; Your Brain on Music |
85 |
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Emotions we
experience in response to music involve structures deep in the
primitive, reptilian regions of the cerebellar vermis and the amygdala. |
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1 |
Levitin; Your Brain on Music |
85 |
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Brain is a massively parallel device, with
operations distributed widely throughout. |
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Levitin; Your Brain on Music |
85 |
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There is no
single language center, nor is there a single music center. |
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Levitin; Your Brain on Music |
85 |
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There are brain
regions that perform component
operations,
and other regions
that coordinate
bringing together this information. |
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Levitin;
Your Brain on Music |
85 |
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Neuroplasticity -- regional
specificity may be temporary; processing centers for important mental
functions actually move to other regions after trauma or brain damage. |
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Levitin; Your Brain on Music |
89 |
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In listening to music, whole populations of neurons become active: pitch sequences (dorsolateral prefrontal cortex, Brodmann
areas 44 and 47), rhythms (lateral cerebellum and the cerebellar verminous), emotion (frontal lobes, cerebellum, amygdala, and the nucleus
accumbens). |
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4 |
Levitin;
Your Brain on Music |
89 |
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Nucleus accumbens -- part of a network of structures involved in feelings of pleasure and reward, whether it is
through eating, having sex, or listening to pleasurable music. |
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Levitin; Your Brain on Music |
97 |
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Visual illusions |
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8 |
Levitin; Your Brain on Music |
99 |
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Auditory system has its own version of perceptual completion. [Gestalts] |
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2 |
Levitin; Your Brain on Music |
99 |
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Perception
is a process of inference, an analysis of probabilities. [Bayesian
inference] |
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Levitin; Your Brain on Music |
99 |
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Brain's task
-- determine the most
likely arrangement of objects in the physical
world is, given the particular pattern of
information that reaches
the sensory receptors. [Bayesian inference] [Gestalts]
[Llinás; brain operates as a
reality emulator.] |
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Levitin; Your Brain on Music |
133 |
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How is it that a song is able to retain its identity in spite of transposition in pitch and time?
[Gestalts] |
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Levitin; Your Brain on Music |
133 |
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Most listeners can recognize a song in transposition, recognize all kinds of deformations of the
original tune. [Gestalts] |
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Levitin; Your Brain on Music |
134 |
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People can recognize hundreds, if not thousands, of voices. [Gestalts] [Bayesian inference] |
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Levitin;
Your Brain on Music |
134 |
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Gestalt psychologists -- every experience leaves a trace or residue in the
brain. Experiences are stored as traces, reactivated when we retrieve the episodes from memory. |
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Levitin; Your Brain on Music |
134 |
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You can probably recognize the sound of your mother's voice within one word, even if she doesn't identify herself. [Gestalts]
[Bayesian inference] |
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Levitin;
Your Brain on Music |
166 |
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To be moved
by music (physically and emotionally) it helps to
have a readily predictable beat. Composes accomplished
this by subdividing the beat in different ways, and accenting some notes
differently than others. Great "groove" in music pertains to the way in
which the beat divisions create a strong momentum. |
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Levitin; Your Brain on Music |
166 |
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"Groove" in music invites us into a sonic world that we don't want to leave. External time seems to stand still and we
don't want the song to ever end. |
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Levitin; Your Brain on Music |
178 |
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Cerebellum
might be involved in musical emotion. |
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12 |
Levitin; Your Brain on Music |
184 |
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Part of Crick's
hypothesis was that consciousness
emerges from the synchronous
firing at 40 Hz of neurons in the brain. |
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6 |
Levitin;
Your Brain on Music |
184 |
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Crick believed that progress in the scientific
understanding of consciousness would only be made
by people rigorously studying details about brain structure and function. |
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Levitin; Your Brain on Music |
185 |
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Intense musical emotion -- what subjects described as "thrills and chills" --
was associated with brain regions thought to be involved in reward,
motivation, and arousal -- the ventral striatum, the amygdala, the midbrain, and regions of
the frontal cortex. |
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Levitin; Your Brain on Music |
185 |
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Ventral striatum includes the nucleus accumbens, which is the
center of the brain's reward system, playing an important role in pleasure and addiction. |
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Levitin; Your Brain on Music |
185 |
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The nucleus
accumbens is
active when gamblers win a bet, or drug users take their favorite drug. |
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Levitin; Your Brain on Music |
185 |
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Nucleus accumbens is closely involved with the transmission of opioids in the brain, through its
ability to release the neurotransmitter dopamine. |
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Levitin; Your Brain on Music |
185 |
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The pleasure
of music listening could
be blocked by
administering the drug nalaxone, believed to interfere with dopamine in the nucleus accumbens. |
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Levitin; Your Brain on Music |
186 |
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By measuring the interaction of one brain region with another using a new mathematical technique called functional and effective connectivity analysis, the technique would permit us to make a moment-by-moment examination of the
neural networks involved in music. |
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Levitin;
Your Brain on Music |
187 |
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Listening to music caused a cascade of brain regions to become
activated in a particular order -- (1) auditory cortex for initial
processing of the components of the sound.
Then (2) frontal regions, such is be BA44 and be BA47, identified is being involved in processing
musical structure and expectations. Finally, (3) a network of regions -- the mesolimbic system -- involved in arousal, pleasure, and the transmission of opioids and the production of dopamine, culminating
in activation in the nucleus accumbens. The cerebellum and basal ganglia were active throughout, presumably supporting the processing
of rhythm and meter. |
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1 |
Levitin; Your Brain on Music |
187 |
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The
rewarding and reinforcing aspects of listening to music seem to be
mediated by increasing dopamine levels in the nucleus accumbens and by the cerebellum's contribution to regulating emotion through its connections to the frontal
lobe and the limbic system. |
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Levitin;
Your Brain on Music |
187 |
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Current neuropsychological theories
associative positive mood and affect with increasing dopamine levels, one of the reasons that many of the antidepressants act on the dopaminergic system. |
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0 |
Levitin; Your Brain on Music |
187 |
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Music is a
means for improving
peoples moods. |
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0 |
Levitin;
Your Brain on Music |
187 |
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Music
invokes some of the same neural regions that language does, but music taps
into primitive brain structures involved with motivation, reward, and emotion. |
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0 |
Levitin;
Your Brain on Music |
187 |
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Computational systems in the brain synchronize neural oscillators with the pulse of the music, and began to predict when the next strong beat will occur. As the music unfolds, the brain constantly updates the estimates of when new beats will occur, and take satisfaction in matching a mental beat with a real-in-the-world one, and takes delight when a skillful musician violates
that expectation in an interesting
way -- a sort of musical
joke. |
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0 |
Levitin; Your Brain on Music |
187 |
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Music
breathes, speeds up,
and slows down just as
the real world does, and our cerebellum finds pleasure in adjusting itself to stay synchronized. |
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0 |
Levitin; Your Brain on Music |
188 |
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Effective music -- groove
-- involves subtle violations of timing. |
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1 |
Levitin; Your Brain on Music |
188 |
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Emotional response to the violations of timing in music
that is groove. |
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0 |
Levitin; Your Brain on Music |
188 |
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Emotional response to groove occurs via the ear -- cerebellum
-- nucleus accumbens -- limbic circuit rather
than via the ear -- auditory cortex circuit. |
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0 |
Levitin; Your Brain on Music |
188 |
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Our response
to groove is largely pre-
or unconscious because it goes through the cerebellum rather than the frontal lobes. |
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0 |
Levitin; Your Brain on Music |
188 |
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It is remarkable that all of these different pathways integrate and to our experience of a single song. |
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0 |
Levitin; Your Brain on Music |
188 |
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The function
of the brain on music is the function of an exquisite orchestration of brain regions, involving both the oldest and newest parts of the human brain, and regions as
far apart as the cerebellum and the frontal lobes. |
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Levitin;
Your Brain on Music |
188 |
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The function
of the brain on music involves a precision choreography of neurochemical release and
uptake between logical
prediction systems and emotional
reward systems. |
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Levitin; Your Brain on Music |
188 |
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When we love a piece of music, it reminds us of the music we have heard, and it activates memory traces of emotional times in our lives. |
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Levitin; Your Brain on Music |
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