Levitin; Your Brain on Music
Book	Page		Topic
Levitin; Your Brain on Music	55		Rhythm, meter, and tempo
Levitin; Your Brain on Music	55		Rhythm refers to lengths of notes.		0
Levitin; Your Brain on Music	56		Tempo refers to the pace of a piece of music. (rate at which you would tap your foot to it)		1
Levitin; Your Brain on Music	56		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.		0
Levitin; Your Brain on Music	58		Tempo is a major factor in conveying emotion.		2
Levitin; Your Brain on Music	69		Conventional foam insert earplugs can block about 25 db is sound.		11
Levitin; Your Brain on Music	69		Loud music saturates the auditory system, causing neurons to fire at their maximum rate.		0
Levitin; Your Brain on Music	69		Loudness is one of the seven major elements of music along with pitch, rhythm, melody, harmony, tempo, and meter.		0
Levitin; Your Brain on Music	69		Very tiny changes in the loudness have a profound effect on the emotional communication of music.		0
Levitin; Your Brain on Music	69		It is the loudness of notes that determines how they group rhythmically.		0
Levitin; Your Brain on Music	72		Brainstem and the dorsal cochlear nucleus -- structures that are so primitive that all vertebrates have them -- can distinguish between consonance and dissonance.		3
Levitin; Your Brain on Music	73		Major elements that go into music -- pitch, timbre, key, harmony, loudness, rhythm, meter, and tempo.		1
Levitin; Your Brain on Music	74		Gestalt principles of grouping -- a set of rules that are taught in every introductory psychology class.		1
Levitin; Your Brain on Music	75		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.		1
Levitin; Your Brain on Music	75		Grouping is partly an automatic process, which means that much of it happens rapidly in our brains and without our conscious awareness.		0
Levitin; Your Brain on Music	75		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.		0
Levitin; Your Brain on Music	76		Sound grouping occurs also, as well is visual grouping.		1
Levitin; Your Brain on Music	77		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.		1
Levitin; Your Brain on Music	78		Our auditory system is exquisitely sensitive to what constitutes simultaneous, being able to detect differences in onset times as short as a few milliseconds.		1
Levitin; Your Brain on Music	78		Spatial location is a grouping principle, as our ears tend to group together sound that come from the same relative position in space.		0
Levitin; Your Brain on Music	78		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.		0
Levitin; Your Brain on Music	78		Our auditory system assumes that sounds coming from a distant location in space are probably part of the same object.		0
Levitin; Your Brain on Music	78		Amplitude also affects grouping.  Sounds of a similar loudness group together.		0
Levitin; Your Brain on Music	79		Frequency, or pitch, is a strong and fundamental consideration in grouping.		1
Levitin; Your Brain on Music	79		The neurobiological subsystems for the different attributes of sound separate early on at low levels of the brain.		0
Levitin; Your Brain on Music	79		Experience and attention can have an influence on grouping, suggesting that portions of the grouping process are under conscious, cognitive control.		0
Levitin; Your Brain on Music	79		We can now identify specific areas of the brain that are involved in particular aspects of music processing.		0
Levitin; Your Brain on Music	82		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.		3
Levitin; Your Brain on Music	83		Damage to the orbitofrontal cortex can cause dramatic changes in personality.		1
Levitin; Your Brain on Music	83		Phineas Gage (1848)		0
Levitin; Your Brain on Music	83		The brain has regional differences of structure and function, but complex personality attributes are no doubt distributed widely throughout the brain.		0
Levitin; Your Brain on Music	83		Human brain has four lobes -- frontal, temporal, parietal, and occipital -- plus the cerebellum.		0
Levitin; Your Brain on Music	83		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.		0
Levitin; Your Brain on Music	83		Temporal lobe is associated with hearing and memory.		0
Levitin; Your Brain on Music	83		Cerebellum is involved in emotions and the planning of movements.		0
Levitin; Your Brain on Music	83		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.		0
Levitin; Your Brain on Music	83		Lobotomy -- surgical separation of a portion of the prefrontal cortex from the thalamus.		0
Levitin; Your Brain on Music	83		Musical activity involves nearly every region of the brain and nearly every neural subsystem.		0
Levitin; Your Brain on Music	84		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.		1
Levitin; Your Brain on Music	84		Some of music processing has points in common with the operations required to analyze other sounds, understanding speech, for example.		0
Levitin; Your Brain on Music	84		Understand aspects of speech beyond words, such as sarcasm.		0
Levitin; Your Brain on Music	84		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.		0
Levitin; Your Brain on Music	84		Trying to follow along with music that you know recruits regions of the brain including the hippocampus and the inferior frontal cortex.		0
Levitin; Your Brain on Music	84		Tapping along with music, either actually or just in your mind, involves the cerebellum's timing circuits.		0
Levitin; Your Brain on Music	84		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.		0
Levitin; Your Brain on Music	84		Reading music    involves the visual cortex and the occipital lobe.		0
Levitin; Your Brain on Music	84		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.		0
Levitin; Your Brain on Music	85		Emotions we experience in response to music involve structures deep in the primitive, reptilian regions of the cerebellar vermis and the amygdala.		1
Levitin; Your Brain on Music	85		Brain is a massively parallel device, with operations distributed widely throughout.		0
Levitin; Your Brain on Music	85		There is no single language center, nor is there a single music center.		0
Levitin; Your Brain on Music	85		There are brain regions that perform component operations,    and other regions that coordinate    bringing together this information.		0
Levitin; Your Brain on Music	85		Neuroplasticity -- regional specificity may be temporary; processing centers for important mental functions actually move to other regions after trauma or brain damage.		0
Levitin; Your Brain on Music	89		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).		4
Levitin; Your Brain on Music	89		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.		0
Levitin; Your Brain on Music	97		Visual illusions		8
Levitin; Your Brain on Music	99		Auditory system has its own version of perceptual completion.  [Gestalts]		2
Levitin; Your Brain on Music	99		Perception is a process of inference,    an analysis of probabilities.  [Bayesian inference]		0
Levitin; Your Brain on Music	99		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.]		0
Levitin; Your Brain on Music	133		How is it that a song is able to retain its identity in spite of transposition in pitch and time?  [Gestalts]		34
Levitin; Your Brain on Music	133		Most listeners can recognize a song in transposition, recognize all kinds of deformations of the original tune.  [Gestalts]		0
Levitin; Your Brain on Music	134		People can recognize hundreds, if not thousands, of voices.  [Gestalts]  [Bayesian inference]		1
Levitin; Your Brain on Music	134		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.		0
Levitin; Your Brain on Music	134		You can probably recognize the sound of your mother's voice within one word, even if she doesn't identify herself.   [Gestalts]  [Bayesian inference]		0
Levitin; Your Brain on Music	166		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.		32
Levitin; Your Brain on Music	166		"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.		0
Levitin; Your Brain on Music	178		Cerebellum might be involved in musical emotion.		12
Levitin; Your Brain on Music	184		Part of Crick's hypothesis was that consciousness emerges from the synchronous firing at 40 Hz of neurons in the brain.		6
Levitin; Your Brain on Music	184		Crick believed that progress in the scientific understanding of consciousness would only be made by people rigorously studying details about brain structure and function.		0
Levitin; Your Brain on Music	185		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.		1
Levitin; Your Brain on Music	185		Ventral striatum includes the nucleus accumbens, which is the center of the brain's reward system, playing an important role in pleasure and addiction.		0
Levitin; Your Brain on Music	185		The nucleus accumbens is active    when gamblers win a bet,    or drug users take their favorite drug.		0
Levitin; Your Brain on Music	185		Nucleus accumbens is closely involved with the transmission of opioids in the brain, through its ability to release the neurotransmitter dopamine.		0
Levitin; Your Brain on Music	185		The pleasure of music listening could be blocked by administering the drug nalaxone, believed to interfere with dopamine in the nucleus accumbens.		0
Levitin; Your Brain on Music	186		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.		1
Levitin; Your Brain on Music	187		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.		1
Levitin; Your Brain on Music	187		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.		0
Levitin; Your Brain on Music	187		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.		0
Levitin; Your Brain on Music	187		Music is a means for improving peoples moods.		0
Levitin; Your Brain on Music	187		Music invokes some of the same neural regions that language does,    but music taps into primitive brain structures involved with motivation,    reward,   and emotion.		0
Levitin; Your Brain on Music	187		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.		0
Levitin; Your Brain on Music	187		Music breathes, speeds up, and slows down just as the real world does,    and our cerebellum finds pleasure in adjusting itself to stay synchronized.		0
Levitin; Your Brain on Music	188		Effective music -- groove -- involves subtle violations of timing.		1
Levitin; Your Brain on Music	188		Emotional response to the violations of timing in music that is groove.		0
Levitin; Your Brain on Music	188		Emotional response to groove occurs via the ear -- cerebellum -- nucleus accumbens -- limbic circuit rather than via the ear -- auditory cortex circuit.		0
Levitin; Your Brain on Music	188		Our response to groove is largely pre- or unconscious because it goes through the cerebellum rather than the frontal lobes.		0
Levitin; Your Brain on Music	188		It is remarkable that all of these different pathways integrate and to our experience of a single song.		0
Levitin; Your Brain on Music	188		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.		0
Levitin; Your Brain on Music	188		The function of the brain on music involves a precision choreography of neurochemical release and uptake between logical prediction systems and emotional reward systems.		0
Levitin; Your Brain on Music	188		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.		0
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Levitin; Your Brain on Music