W3480Y WEEK 11: NONVERBAL ABILITIES - MUSIC PERCEPTION AND RECOGNITION

REQUIRED READINGS

1.  Peretz, I. (2001) Music perception and recognition. In B. Rapp (Ed.), The Handbook of Cognitive Neuropsychology: What Deficits Reveal About the Human Mind, Philadelphia: Psychology Press.

(ALL, except Blood et al. (1999), ARE AVAILABLE THROUGH COLUMBIA E-JOURNALS) http://www.columbia.edu/cu/libraries/indiv/science/sjtitle.html

2. Mottron, L., Peretz, I., & Menard, E. (2000). Local and global processing of music in high-functioning persons with autism: Beyond central coherence? Journal of Child Psychology and Psychiatry, 41(8), 1057-1065.

3. Schuppert, M., Munte, T. F., Wieringa, B. M., & Altenmuller, E. (2000). Receptive amusia: evidence for cross-hemispheric neural networks underlying music processing strategies. Brain, 123, 546-559.

4. Blood, A. J., Zatorre, R. J., Bermudez, P., & Evans, A. C.. (1999). Emotional responses to pleasant and unpleasant music correlate with activity in paralimbic brain regions. Nature Neuroscience, 2(4), 382-387.

QUESTION FOR CRITICAL THINKING:

NOTE: The following question involves listening to musical passages. You should all have access to these passages website: http://www.columbia.edu/itc/music/kim/c1123/

First, listen to J.S. Bachís "Concerto No. 5" from 0:00 to 1:00 (the first minute)

As you listen, try to differentiate the "global" and "local" aspects of this piece, both in terms of melodic and temporal components. Discuss the evidence from the papers you read concerning whether the global and local processing of music (both melodic and temporal) can be dissociated (include both cognitive and neural evidence for or against their dissociation). How might a non-savant autistic patientís processing of this passage differ from the experiences of normal subjects, particularly in terms of local and global components? Second, listen to Arnold Schoenberg's "Pierrot Lunaire" from 0:00 to 1:30 (the first 1.5 minutes) Describe your emotional response to this passage. What parts of your brain might be involved in this emotional response? How might the emotional response of an amateur listener (an individual without musical background) to this passage differ from a professionally-trained musician?

ADDITIONAL READINGS:

1.  Liegeois-Chauvel, C., Peretz, I., Babai, M., Laguitton, V., & Chavel, P. (1998). Contribution of different cortical areas in the temporal lobes to music processing. Brain, 121, 1853-1867.

2.  Ayotte, J., Peretz, I., Rousseau, I., Bard, C., & Bojanowski, M. (2000). Patterns of music agnosia associated with middle cerebral artery infarcts. Brain, 123, 1926-1938.

3. Piccirilli, M., Sciarma, T., & Luzzi, S. (2000). Modularity of music: evidence from a case of pure amusia. Journal of Neurology, Neurosurgery and Psychiatry, 69, 541-545.

4.  Peretz, I. (1993). Auditory atonalia for melodies. Cognitive Neuropsychology, 10, 21-56.

5.  Peretz, I. (1996). Can we loose memories for music? The case of music agnosia in a nonmusician. Journal of Cognitive Neuorscience, 8(6), 481-496.

6.  Peretz, I., & Gagnon, L. (1999). Dissociation between recognition and emotional judgment for melodies. Neurocase, 5, 21-30.

7.  Peretz, I., Gaudreau, D., & Bonnel, A.-M. (1998). Exposure effects on music preference and recognition, Memory and Cognition, 26(5), 884-902.

RELATED TOPIC: MUSIC IN NOVICES AND EXPERTS

1. Kinsella, G., Prior, M. R., & Murray, G. (1988). Singing ability after right and left sided brain damage. A research note. Cortex, 24, 165-169.

2. Messerli, P., Pegna, A., & Sordet, N. (1995). Hemispheric dominance for melody recognition in musicians and non-musicians. Neuropsychologia, 33(4), 395-405.