Music, Language, and the Brain

By Aniruddh D. Patel. Style, 2007

1,636 citations recorded by the source corpus.

1. Introduction 2. Sound Elements: Pitch and Timbre 2.1 Introduction 2.2 Musical Sound Systems 2.3 Linguistic Sound Systems 2.4 Sound Category Learning as a Key Link 2.5 Conclusion Appendixes 3. Rhythm 3.1 Introduction 3.2 Rhythm in Music 3.3 Rhythm in Speech 3.4 Interlude: Rhythm in Poetry and Song 3.5 Non-Periodic Aspects of Rhythm as a Key Link 3.6 Conclusion Appendixes 4. Melody 4.1 Introduction 4.2 Melody in Music: Comparisons to Speech 4.3 Speech Melody: Links to Music 4.4 Interlude: Musical and Linguistic Melody in Song 4.5 Melodic Statistics and Melodic Contour as Key Links 4.6 Conclusion Appendix 5. Syntax 5.1 Introduction 5.2 The Structural Richness of Musical Syntax 5.3 Formal Differences and Similarities between Musical and Linguistic Syntax 5.4 Neural Resources for Syntactic Integration as a Key Link 5.5 Conclusion 6. Meaning 6.1 Introduction 6.2 A Brief Taxonomy of Musical Meaning 6.3 Linguistic Meaning in Relation to Music 6.4 Interlude: Linguistic and Musical Meaning in Song 6.5 The Expression and Appraisal of Emotion as a Key Link 6.6 Conclusion 7. Evolution 7.1 Introduction 7.2 Language and Natural Selection 7.3 Music and Natural Selection 7.4 Music and Evolution: Neither Adaptation nor Frill 7.5 Beat-Based Rhythm Processing as a Key Research Area 7.6 Conclusion Appendix Afterword References List of Sound Examples Lis of Credits Author Index Subject Index

Subfields: Cognitive Neuroscience, Experimental and Cognitive Psychology

View Paper: https://www.semanticscholar.org/paper/032a335bbc3fd6f8ce61644c1fff0a06da09f854

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Citations in the corpus

Plink: "Thin Slices" of Music (2010, background): “A factor to consider in understanding the effect of title word in the present experiments is that typical syllable durations are in the range of 100 ms (Greenberg, 1996; as cited in Patel, 2007), so a 400 ms clip might contain multiple syllables.”
A Theory of Tonal Hierarchies in Music (2010, background): “This hierarchy reflects the influence of triadic (chord) structure in this style, in which consonant chords predominate (for summaries of these elementary aspects of Western music theory, see Handel 1989; Krumhansl 1990a; Patel 2008; Thompson 2008).”
The evolutionary neuroscience of musical beat perception: the Action Simulation for Auditory Prediction (ASAP) hypothesis (2013, methodology): “…of beat interpretations is demonstrated in Figure 1, which shows how different listeners’ responses can be when instructed to “tap to the beat you hear” in an excerpt of jazz as part of the “Beat Alignment Test” (BAT) for the assessment of beat production and perception (Iversen and Patel, 2008).”
Background music can aid second language learning (2014, background): “The proffered explanation was that musically trained adults recruit more overlapping cognitive networks when processing language and music (Koelsch, 2012; Patel, 2008) and therefore experience an enhanced dual-task decrement when attempting to process from the two different streams at the same time.”
Who Enrolls in High School Music? A National Profile of U.S. Students, 2009–2013 (2019, background): “…particular value to English language learners (ELL) given the positive relationships found between music study, pitch perception, and productive phonology (Posedel, Emery, Souza, & Fountain, 2011) as well as the reported similarities between music perception and language development (Patel, 2010).”
Multisensory Stimulation in Stroke Rehabilitation (2012, background): “There are evidence for shared neural processing resources between the phonological/semantic aspects of language and the melodic/harmonic aspects of music (Patel, 2003, 2008; Koelsch et al., 2004; Patel and Iversen, 2007; Besson et al., 2011).”
The emergence of music from the Theory of Mind (2009, background): “The connection between music and speech may run deeper than their reliance on a common emotional code (Patel, 2008).”
Can Music Influence Language and Cognition? (2009, background): “In this literature, musicians and non-musicians are often asked to perform various motor, perceptual or cognitive tasks, such as typing with their fingers, or listening to or storing/memorising music, in order to discriminate between sounds, or to perceive harmonic, melodic or rhythmic changes (for ”
From everyday emotions to aesthetic emotions: towards a unified theory of musical emotions. (2013, background): “As Patel (2008) has pointed out, human beings are unparalleled in their ability to make sense out of sound.”
Sensorimotor synchronization: A review of recent research (2006–2012) (2013, background): “The study by Repp, Iversen, and Patel (2008) included a beat-finding task in which participants listened to the rhythms and started tapping with their preferred beat as soon as they had decided on it.”
Why would Musical Training Benefit the Neural Encoding of Speech? The OPERA Hypothesis (2011, background): “…ordinary musical circumstances, the amplitude envelope of sounds is an acoustic feature relevant to timbre, and while timbre is an important attribute of musical sound, it (unlike pitch) is rarely a primary structural parameter for musical sequences, at least in Western melodic music (Patel, 2008).”
The brain basis of emotion: A meta-analytic review (2012, neutral): “…& Perlovsky 2010; van Veen et al. 2009), musical emotions (Cross & Morley 2008; Juslin & Västfjäll 2008; Levitin 2006; Panksepp & Bernatzky 2002; Patel 2008; Perlovsky 2010d; 2010c; Purwins et al. 2008; Sloboda & Juslin 2001; Trainor 2008 ), and emotions of language prosody (Buchanan et al.…”