The role of the cerebral hemispheres in music

Gates, Anne; Bradshaw, John L.

doi:10.1016/0093-934x(77)90035-9

Cited by 183 publications

(44 citation statements)

References 151 publications

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“…A left hemispheric predominance for processing of sequential aspects of motor programming and recognition of temporal patterns has been reported in healthy subjects (Gates and Bradshaw 1977;Peters 1985) and in patients (Mavlov 1980), suggesting that these ventral medial wall areas are included in hemispheric-specific aspects of movement control. Halsband et al (1993) showed that deficits in rhythm reproduction from memory were more pronounced in patients with left premotor and SMA lesions than in those with right hemispheric premotor lesions.…”

Section: Ventral Medial Wall Areasmentioning

confidence: 90%

Cerebral midline structures in bimanual coordination

Stephan

Binkofski

Posse

et al. 1999

Experimental Brain Research

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In six healthy right-handed volunteers, we compared the cerebral activation pattern related to unimanual right-and left-hand movements and to bimanual in-phase and anti-phase movements using functional magnetic resonance imaging (fMRI). Internally paced unimanual finger-to-thumb opposition movements led to a strong contralateral activation of primary sensorimotor areas in all six subjects. Midline activity was lateralized to the left side during right-hand movements, but to both sides during left-hand movements. Activity patterns of bimanual in-phase movements resembled the combined activity patterns of the two unimanual conditions: right and left hemispheric activations of the primary sensorimotor cortices and predominantly left-sided medial frontal activity. In contrast, during anti-phase movements, we observed a clear increase in activity, in both right and left frontal midline areas and in right hemispheric, mainly dorsolateral premotor areas compared to in-phase movements. These results indicate that frontal midline activity is not specific for bimanual movements per se. It can already be involved during simple unimanual movements but becomes progressively more involved during more complex aspects of movement control.

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Section: Ventral Medial Wall Areasmentioning

confidence: 90%

Cerebral midline structures in bimanual coordination

Stephan

Binkofski

Posse

et al. 1999

Experimental Brain Research

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“…Moreover, it is thought that the hemispheres differ in how efficiently they process various types of information. The left hemisphere is thought to be more efficient than the right hemisphere in processing linguistic information (Kimura, 1961(Kimura, , 1966, whereas the right hemisphere is believed to have greater efficiency in processing many aspects of music (Gates & Bradshaw, 1977).…”

Section: Methodsmentioning

confidence: 99%

Perceptual fluency and affect without recognition

Anand

Sternthal

1991

Memory & Cognition

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A dichotic listening task was used to investigate the affect-without-recognition phenomenon. Subjects performed a distractor task by responding to the information presented in one ear while ignoring the target information presented in the other ear. The subjects' recognition of and affect toward the target information as well as toward foils was measured. The results offer evidence for the affect-without-recognition phenomenon. Furthermore, the data suggest that the subjects' affect toward the stimuli depended primarily on the extent to which the stimuli were perceived as familiar (i.e., subjective familiarity), and this perception was influenced by the ear in which the distractor or the target information was presented. These data are interpreted in terms of current models of recognition memory and hemispheric lateralization.

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“…However, it is possible that listeners do not attend to individual notes, but rather analyze the overall shape or structure of the melody. These contrasting approaches to melody identification roughly correspond to the distinction between analytic and holistic processing, an issue with a long history in studies of both language and music processing (Banich & Heller, 1998;Bever & Chiarello, 1974;Gates & Bradshaw, 1977;Kimura, 1961Kimura, , 1964. Analytic processing of music would occur if the listener broke the melody down into its constituent components, analyzed each component on a note-by-note basis, and summed the information contained in each note to reach an understanding of the stimulus.…”

Section: What Are the Fundamental Units For Melody Identification?mentioning

confidence: 99%

“…Research on music cognition generally shows that the way music is processed depends on the abilities of the participants and the demands of the experimental task (Bever & Chiarello, 1974;Gates & Bradshaw, 1977;Robinson, 1977;Robinson & Solomon, 1974). For example, conducted a series of dichotic listening studies similar to the monaural experiments run by Dowling (1978;Dowling & Fujitani, 1971).…”

Section: What Are the Fundamental Units For Melody Identification?mentioning

confidence: 99%

Musical Features That Facilitate Melody Identification: How Do You Know It's “Your” Song When They Finally Play It?

2003

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JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. University of California Press Duke UniversityWhat information do listeners use to "Name that Tune"? This question was investigated in a two-phase experiment. In Phase 1, the participants heard familiar melodies that were played on a note-by-note basis until they were identified. In Phase 2, each note of the melody was analyzed along a variety of musical dimensions. Multiple regression analyses determined which musical characteristics predicted identification performance. Identification was most strongly associated with notes located at phrase boundaries, notes that completed alternating sequences of rising and falling pitches, and metrically accented notes. As well, identification peaked after listeners heard moderate amounts of information (i.e., 5-7 notes). The data suggest that melody identification is a holistic, all-ornone process and that parallels can be drawn between melody and spoken word identification. Implications for current theories, future research, and the relationship between music perception and melody identification are discussed.

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The role of the cerebral hemispheres in music

Cited by 183 publications

References 151 publications

Cerebral midline structures in bimanual coordination

Cerebral midline structures in bimanual coordination

Perceptual fluency and affect without recognition

Musical Features That Facilitate Melody Identification: How Do You Know It's “Your” Song When They Finally Play It?

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