The Neuroscience of Bach’s Music
Perception, Action, and Cognition Effects on the Brain
- 1st Edition - February 7, 2024
- Imprint: Academic Press
- Author: Eric Altschuler
- Language: English
- Paperback ISBN:9 7 8 - 0 - 4 4 3 - 1 3 5 1 9 - 4
- eBook ISBN:9 7 8 - 0 - 4 4 3 - 1 3 5 2 0 - 0
The Neuroscience of Bach’s Music: Perception, Action, and Cognition Effects on the Brain is a comprehensive study of Johann Sebastian Bach’s music through the lens of ne… Read more
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Request a sales quoteThe Neuroscience of Bach’s Music: Perception, Action, and Cognition Effects on the Brain is a comprehensive study of Johann Sebastian Bach’s music through the lens of neuroscience, examining neuroscience using Bach’s music as a tool. This book synthesizes cognitive neuroscience, music theory, and musicology to provide insights into human cognition and perception. It also explores how a neuroscience perspective can improve listening and performing experiences for Bach’s music. Written by a physician-neuroscientist recognized for scholarly articles on Bach’s music, this book uses specific examples to explore neuroscience across Bach’s compositions.
The book is structured to discuss the brain’s action, perception, and cognition as connected to specific Bach concertos, tones, notes, and performances. Two guest contributors provide insight into exact mathematical, or topologic, and music theoretic aspects of Bach’s music with implications for cognitive neuroscience.
- Links specific features and unique characteristics of Bach’s music to perceptual and cognitive neuroscience processes
- Requires only an interest in music or basic music training
- Accompanied by a companion website with music examples mentioned in the book
Researchers in neuroscience, particularly perceptual and/or cognitive neuroscience, Advanced undergraduate or graduate students in neuroscience, musicians, students or academics in musical studies
- Cover image
- Title page
- Table of Contents
- Copyright
- Dedication
- Acknowledgments
- Part One: Prelude
- Chapter One Introduction
- Abstract
- Reference
- Chapter Two Background and overview of Johann Sebastian Bach
- Abstract
- References
- Chapter Three Basics of the brain and perception
- Abstract
- Loudness
- Overtones
- References
- Chapter Four Case study: A (not so) simple invention by Bach—Upside down but very, very rarely backwards
- Abstract
- Appendix
- References
- Part Two: Playing Bach and the brain—Action
- Chapter Five Playing Bach’s suites for solo cello and experiencing one’s actions without perception and clocking Libet’s “mind time”
- Abstract
- References
- Chapter Six Neural performance, action requirements, and challenges of playing Bach’s Concerto for Two Violins—A study of synchronization and perceptual experience
- Abstract
- References
- Chapter Seven Case study: Organ, violin or guitar?
- Abstract
- References
- Chapter Eight Incorporating the cello part with two solo violas Bach’s in Brandenburg Concerto No. 6—Challenges in synchronization and listener experience
- Abstract
- Reference
- Chapter Nine More than three—Perceptual, action, and cognitive challenges for performers and listeners
- Abstract
- References
- Chapter Ten Case study: A brainy Bach Encore for Handel
- Abstract
- References
- Chapter Eleven Case study: What is a fugue?
- Abstract
- References
- Chapter Twelve Virtuoso of Bach’s composing and performance expectations
- Abstract
- Postscript
- References
- Part Three: Listening to Bach—Perception of musical space and landscape
- Chapter Thirteen An introduction to the neuroscience of “affekt”—Music, emotions, and the brain’s limbic system
- Abstract
- Chapter Fourteen “Affekt” related to tempos and effects—Bach’s composition and emotional playing
- Abstract
- References
- Chapter Fifteen Case study: The affekt of effects in a Bach Cantata
- Abstract
- References
- Chapter Sixteen The algebra and neuroscience of Bach’s transcriptions for various instruments and cognitive effects
- Abstract
- References
- Chapter Seventeen Case studies: (Can you hear) What’s in a name?
- Abstract
- Postscript
- Appendix
- References
- Part Four: Bach and the exploration of the tonal system and beyond—Cognition
- Chapter Eighteen Parallel fifths and the cognitive-perceptual system
- Abstract
- References
- Chapter Nineteen Sequential enharmonic notes across instruments in Bach’s compositions
- Abstract
- References
- Chapter Twenty Case study: “Wrong Notes” in Bach
- Abstract
- Reference
- Chapter Twenty One Bach’s 12-tone row, cognition, and musical perception
- Abstract
- References
- Chapter Twenty Two Case study: A whole tone scale in Bach
- Abstract
- References
- Chapter Twenty Three Modal traces and the cognitive-perceptual system
- Abstract
- Dorian and Aeolian Modal Chorales
- Phrygian cadences
- Solo Cello Suite No. 4 Prelude—Bach’s Mixolydian masterpiece
- An eighth church mode?!
- References
- Chapter Twenty Four Present and future neuroimaging studies of Bach
- Abstract
- References
- Part Five: Mathematical Bach
- Chapter Twenty Five Topology in Bach I—The Brain’s analysis of Bach’s match to a “Möbius strip” structure
- Abstract
- Canons
- Canon 3
- Canon 5
- References
- Chapter Twenty Six Topology in Bach II—A musical torus and the brain’s ability to hear topological structures
- Abstract
- A musical score as a topological space
- The Musical Offering
- Canon 5
- The illusion: Pitch versus tonality
- The torus
- References
- Chapter Twenty Seven Unbroken and broken symmetry in Bach’s compositions
- Abstract
- References
- Part Six: Conclusion
- Chapter Twenty Eight Bach and the brain: Action, perception, and cognition—Summary, conclusion, fresh beginnings and future studies
- Abstract
- References
- Part Seven: Appendices
- Chapter Twenty Nine Recovering “Bach’s edition” of the solo cello suites
- Abstract
- Introduction
- Performer vs. composer
- Sonatas and partitas for solo violin
- Tempo
- Cello suites
- References
- Chapter Thirty Further readings and online resources
- Abstract
- References
- Index
- Edition: 1
- Published: February 7, 2024
- Imprint: Academic Press
- No. of pages: 370
- Language: English
- Paperback ISBN: 9780443135194
- eBook ISBN: 9780443135200
EA
Eric Altschuler
Eric Altschuler, MD, PhD is Associate Chief and Director of Clinical Research in the Department of Physical Medicine and Rehabilitation at Metropolitan Hospital and Associate Clinical Professor in the Department of Rehabilitation Medicine at New York Medical College. Dr. Altschuler is also an Associate Editor of the American Journal of Physical Medicine and Rehabilitation. Dr. Altschuler is board certified in Physical Medicine and Rehabilitation, Brain Injury Medicine, Neuromuscular Medicine and Electrodiagnostic medicine. In addition to clinical work in general PM&R and electro-diagnostics, Dr. Altschuler is a widely published and recognized expert in clinically applied and basic cognitive neuroscience. Dr. Altschuler was the first to report the use of mirror therapy for hemiparesis following stroke and for a combination amputation/orthopedic injury. Dr. Altschuler was the first to publish the use of animal assisted therapy for post-traumatic stress disorder (PTSD) now in wide use for patients across the world.
Affiliations and expertise
Department of Physical Medicine and Rehabilitation, Metropolitan Hospital; Department of Rehabilitation Medicine, New York Medical College, NY, USARead The Neuroscience of Bach’s Music on ScienceDirect