E-Book, Englisch, Band Volume 216, 440 Seiten
Reihe: Progress in Brain Research
E-Book, Englisch, Band Volume 216, 440 Seiten
Reihe: Progress in Brain Research
ISBN: 978-0-444-63410-8
Verlag: Elsevier Science & Techn.
Format: EPUB
Kopierschutz: Adobe DRM (»Systemvoraussetzungen)
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Weitere Infos & Material
1;Front Cover;1
2;Music, Neurology, and Neuroscience: Historical Connections and Perspectives;4
3;Copyright ;5
4;Contributors;6
5;Contents;8
6;Preface;16
6.1;Recommended Additional Readings;18
7;Part 1: History of neuroscience;20
7.1;Chapter 1: Franz Joseph Gall and music: the faculty and the bump;22
7.1.1;1. A Brief Summary of Gall's Life;25
7.1.2;2. Abstract and Newer Faculties;28
7.1.3;3. Methodology and Cortical Localization;31
7.1.4;4. The "Faculty of Perceiving the Relations of Tones, Talent for Music";35
7.1.5;5. Before and After;44
7.1.6;Acknowledgments;48
7.1.7;References;48
7.2;Chapter 2: Music, neurology, and psychology in the nineteenth century;52
7.2.1;1. Introduction;52
7.2.2;2. Brain Processing of Music;53
7.2.2.1;2.1. Music Perception and Cognition;53
7.2.2.2;2.2. Tonvorstellung;55
7.2.2.3;2.3. Localization of Music Function and Listening Types;55
7.2.3;3. Music as an Expression of Emotion;59
7.2.4;4. Richard Wallaschek-Synthesis of Music, Neurology and Psychology;61
7.2.5;5. Summary;65
7.2.6;References;66
8;Part 2: Aphasia and singing;70
8.1;Chapter 3: Singing by speechless (aphasic) children: Victorian medical observations;72
8.1.1;1. Introduction;72
8.1.2;2. Historical Context;73
8.1.2.1;2.1. Biographical Background on the Work of John Hughlings Jackson;73
8.1.2.2;2.2. Larger Historical Medical Context;74
8.1.3;3. Cases of Singing in Speechless Patients;76
8.1.3.1;3.1. Jackson's Observations on Singing in Speechless Patients;76
8.1.3.2;3.2. Jackson on Children's Expression and Musical Abilities;79
8.1.3.3;3.3. Jackson's "Singing by Speechless (Aphasic) Children" (1871);82
8.1.3.4;3.4. Cases of Singing in Speechless Children Recorded at Great Ormond Street;85
8.1.4;4. Later Observations;86
8.1.4.1;4.1. Continuing Interest in Singing Abilities with ``Loss of Speech´´;86
8.1.4.2;4.2. French Interest in the Musical Abilities of Aphasic Patients;87
8.1.5;5. Discussion and Conclusions;87
8.1.6;References;89
8.2;Chapter 4: Some early cases of aphasia and the capacity to sing;92
8.2.1;1. Introduction;92
8.2.2;2. Eighteenth-century Observations of Singing in Aphasia;93
8.2.2.1;2.1. Dalin and the Mute Who Could Sing Hymns;93
8.2.2.2;2.2. Gesner and the Abbot Who Could Not Sing;95
8.2.2.3;2.3. The Singing Origins of Language;96
8.2.2.4;2.4. Additional Consideration of Singing and Speaking in the Eighteenth Century;96
8.2.3;3. Nineteenth-century Observations of Singing in Aphasia;97
8.2.3.1;3.1. Jackson and Singing as an Expression of Emotional Language;97
8.2.3.2;3.2. Falret and the Capacity to Sing in Aphasia;101
8.2.3.3;3.3. Kussmaul's Synthesis in 1877;102
8.2.3.4;3.4. Other Observations About Singing in Aphasia Prior to 1880;105
8.2.4;4. Summary;106
8.2.5;References;106
9;Part 3: Pathological connections;110
9.1;Chapter 5: Benjamin Franklin and his glass armonica: from music as therapeutic to pathological;112
9.1.1;1. Benjamin Franklin;113
9.1.2;2. Glass as a Musical Instrument;116
9.1.3;3. Franklin's Path to the Armonica;119
9.1.4;4. Manipulating Passions with Musical Glasses;121
9.1.5;5. Franklin on the Armonica and Manipulating the Passions;122
9.1.6;6. Treating Melancholy and Hysteria in London;124
9.1.7;7. On Music's Utility;125
9.1.7.1;7.1. Empirical Medicine;125
9.1.7.2;7.2. The "Psychologist";126
9.1.7.3;7.3. Medical Theories;127
9.1.8;8. Applause and an "emotional" digression;129
9.1.9;9. Fears and Accusations;131
9.1.10;10. Franklin on Armonica-caused Health Concerns;136
9.1.10.1;10.1. Innovations and Improvements;136
9.1.10.2;10.2. Psychology and Medical Fads;138
9.1.10.3;10.3. Doing Nothing;139
9.1.11;11. Epilogue;140
9.1.12;Acknowledgments;140
9.1.13;References;140
9.2;Chapter 6: Historical perspectives on music as a cause of disease;146
9.2.1;1. From the Harmony of the Spheres to Nervous Stimulation;147
9.2.2;2. Music and Overstimulated Nerves (1790-1850);149
9.2.3;3. Pathological Music (1850-1914);152
9.2.4;4. Twentieth-Century Blues: pathological Music (1900-1945);156
9.2.5;5. Pathological Music (1945-Present);159
9.2.6;References;161
10;Part 4: Great musicians and their neurological disorders;166
10.1;Chapter 7: Stroke, music, and creative output: Alfred Schnittke and other composers;168
10.1.1;Abstract;168
10.1.2;Keywords;168
10.1.3;1. Alfred Schnittke, His Music and Life;169
10.1.4;2. Music and Stroke: Britten, Langalais, Shebalin, Stravinsky, and Thompson;173
10.1.5;3. The Effect of Stroke on Schnittke;176
10.1.6;Acknowledgments;181
10.1.7;References;181
10.2;Chapter 8: Hector Berlioz and his Vesuvius: an analysis of historical evidence from an epileptological perspective;186
10.2.1;1. Biographical Background;186
10.2.2;2. A Mystery;187
10.2.3;3. Le Mal Inexprimable: The Ineffable Malady;190
10.2.3.1;3.1. Of Laurel Forests and Volcanoes;191
10.2.3.2;3.2. Of Wild Boars and Polar Bears;203
10.2.4;4. The Diagnosis;207
10.2.5;5. Encore: la Symphonie Fantastico-Épileptique;210
10.2.6;6. Conclusion;214
10.2.7;Acknowledgment;214
10.2.8;References;214
10.3;Chapter 9: Alexander Scriabin: his chronic right-hand pain and Its impact on his piano compositions;216
10.3.1;1. Introduction;216
10.3.1.1;1.1. Alexander Scriabin's Life;218
10.3.1.2;1.2. Alexander Scriabin's Pianistic Training;219
10.3.2;2. Scriabin's Injury in 1891;222
10.3.2.1;2.1. Consequences for His Piano Compositions;228
10.3.2.2;2.2. Some Diagnostic Considerations;229
10.3.3;3. A Musical-Medical Assessment;231
10.3.4;4. Coda;232
10.3.5;Acknowledgment;233
10.3.6;References;233
10.4;Chapter 10: Frederick Delius: controversies regarding his neurological disorder and its impact on his compositional output;236
10.4.1;1. His Life;237
10.4.2;2. His Illness;242
10.4.3;3. Brief Review of Neurosyphilis;245
10.4.4;4. His Music;248
10.4.5;5. Conclusions;250
10.4.6;References;251
10.5;Chapter 11: Robert Schumann in the psychiatric hospital at Endenich;252
10.5.1;1. Introduction;252
10.5.2;2. Medical History;255
10.5.2.1;2.1. Psychopathological Findings;257
10.5.2.1.1;2.1.1. Condition, Mood (Affect);257
10.5.2.1.2;2.1.2. Psychotic Symptoms;260
10.5.2.1.2.1;2.1.2.1. Hallucinations;261
10.5.2.1.2.2;2.1.2.2. Verbal Hallucinations;263
10.5.2.1.2.3;2.1.2.3. Tinnitus, Musical Hallucinations;263
10.5.2.1.2.4;2.1.2.4. Delusions;266
10.5.2.1.3;2.1.3. Organic Disorders;268
10.5.2.1.3.1;2.1.3.1. Organic Findings;268
10.5.2.1.3.2;2.1.3.2. Speech, Speech and Language Disturbances, Gesticulating, ``Singeln´´ (Sound Making);269
10.5.2.1.3.3;2.1.3.3. Cognition;270
10.5.2.1.3.4;2.1.3.4. Pupils;271
10.5.2.1.3.5;2.1.3.5. Motor Abnormalities;272
10.5.2.1.3.6;2.1.3.6. (Paralytic) "Seizures";273
10.5.2.1.3.7;2.1.3.7. Dietetic Treatment, Baths, Medication, Exercise, Shielding from Stimuli;274
10.5.2.1.3.8;2.1.3.8. Pain, Skin Complaints, Marasmus;276
10.5.2.1.4;2.1.4. Subjective Details from Schumann;277
10.5.2.1.5;2.1.5. Autopsy;278
10.5.2.2;2.2. Psychiatric-Neurologic Knowledge in 1850/1860;278
10.5.2.2.1;2.2.1. Joseph Guislain (1852) and Heinrich Laehr (1854);279
10.5.2.2.2;2.2.2. Wilhelm Griesinger (1845, 1861);279
10.5.3;3. Discussion;281
10.5.3.1;3.1. Neuropsychiatric Findings;281
10.5.3.2;3.2. Diagnosis;283
10.5.3.3;3.3. Clara Schumann;285
10.5.3.4;3.4. The Closest Friends Brahms, Joachim, Grimm, and Bargiel;287
10.5.3.5;3.5. Conolly's "no restraint";287
10.5.3.6;3.6. Exhaustion Theory;288
10.5.3.7;3.7. Genius and Madness;288
10.5.4;Acknowledgments;290
10.5.5;References;290
10.6;Chapter 12: Mozart at play: the limitations of attributing the etiology of genius to tourette syndrome and mental illness;296
10.6.1;1. Introduction;296
10.6.2;2. Tourette Syndrome;297
10.6.3;3. Mental Illness Scatology;298
10.6.4;4. Mozart's Playing;301
10.6.5;5. Daines Barrington's Interview with Mozart: play Is the Thing;303
10.6.6;6. Mozart's Personality;307
10.6.7;7. Mozart's Playful Attitude;308
10.6.8;8. Conclusion;309
10.6.9;Acknowledgments;309
10.6.10;References;309
10.7;Chapter 13: Paul Wittgenstein's right arm and his phantom: the saga of a famous concert pianist and his amputation;312
10.7.1;1. Paul Wittgenstein;313
10.7.2;2. Later Events;317
10.7.3;3. The Phantom Limb Phenomena;318
10.7.4;Acknowledgments;320
10.7.5;References;321
10.8;Chapter 14: Georg Friedrich Händel: a case of large vessel disease with complications in the eighteenth century;324
10.8.1;1. Biography and Character;324
10.8.2;2. Händel's Neurological Disease;325
10.8.3;3. Händel's Visual Impairment;330
10.8.4;4. Which are the Most Plausible Diagnoses and Which Medical Evidence Is There to Support Them?;331
10.8.5;5. Treatments for Stroke in the Eighteenth Century;333
10.8.6;References;334
10.9;Chapter 15: Joseph Haydn's encephalopathy: new aspects;336
10.9.1;1. Introduction;336
10.9.2;2. What Neurological Disorders Did Haydn Suffer from? (Table2);337
10.9.2.1;2.1. Gait Disturbance;337
10.9.2.2;2.2. Dyspraxia and Coordination Disturbances;340
10.9.2.3;2.3. Behavioral Changes, Emotional Lability, and Depression;341
10.9.2.4;2.4. Cognitive Impairment: Dysexecutive Syndrome, Memory Deficits—Vascular Dementia;342
10.9.2.5;2.5. Stroke Episodes?;343
10.9.2.6;2.6. Haydn's Final Days;344
10.9.2.7;2.7. What Medical Evidence Supports the Diagnosis of SVE?;344
10.9.3;References;347
10.10;Chapter 16: Organists and organ music composers;350
10.10.1;1. Introduction;350
10.10.2;2. Classical and Church Organists and Organ Music Composers;351
10.10.3;3. Neurological Findings;352
10.10.3.1;3.1. Positive Phenomena;352
10.10.3.2;3.2. Negative Phenomena;355
10.10.3.3;3.3. Vascular Events;358
10.10.4;References;360
10.11;Chapter 17: Frédéric Chopin and his neuropsychiatric problems;362
10.11.1;1. Introduction;362
10.11.2;2. "His Health Declined Slowly": an Overview of Chopin's Medical History;363
10.11.3;3. "Chopin's Suffering": On the Endless Pitfalls of Retrospective Diagnosis;368
10.11.4;4. "I Feel Like a Violin String on a Contrabass": toward an Uninvestigable Relationship Between Illness and Work;370
10.11.5;References;372
11;Part 5: Opera as a window to neurology and neuroscience;374
11.1;Chapter 18: Somnambulism in Verdi's Macbeth and Bellini's La Sonnambula: opera, sleepwalking, and medicine;376
11.1.1;1. Somnambulism in Opera ;377
11.1.2;2. Somnambulism and the Arts;381
11.1.3;3. Shakespeare's Macbeth;382
11.1.4;4. Verdi's Macbeth;388
11.1.5;5. Bellini's La Sonnambula;393
11.1.6;6. The Music Accompanying the Somnambulism Scenes;399
11.1.7;7. Discussion and Conclusions;400
11.1.8;Acknowledgments;404
11.1.9;References;404
11.2;Chapter 19: Opera and neuroscience;408
11.2.1;1. Introduction;408
11.2.2;2. The Origins of Madness in Opera;409
11.2.3;3. Mozart and Mesmerism;415
11.2.4;4. Nineteenth-century Pathological Madness;417
11.2.5;5. Operatic Development of Neurological and Psychiatric Characters;420
11.2.6;6. Conclusions;424
11.2.7;Acknowledgments;424
11.2.8;References;424
12;Index;430
13;Volume in Series ;440
Chapter 2 Music, neurology, and psychology in the nineteenth century
Amy B. Graziano*,1; Julene K. Johnson† * Division of Music History, Hall-Musco Conservatory of Music, Chapman University, Orange, CA, USA
† Institute for Health & Aging, University of California, San Francisco, CA, USA
1 Corresponding author: Tel.: 714-997-6897; Fax: 714-997-744-7671 email address: graziano@chapman.edu Abstract
This chapter examines connections between research in music, neurology, and psychology during the late-nineteenth century. Researchers in all three disciplines investigated how music is processed by the brain. Psychologists and comparative musicologists, such as Carl Stumpf, thought in terms of multiple levels of sensory processing and mental representation. Early thinking about music processing can be linked to the start of Gestalt psychology. Neurologists such as August Knoblauch also discussed multiple levels of music processing, basing speculation on ideas about language processing. Knoblauch and others attempted to localize music function in the brain. Other neurologists, such as John Hughlings Jackson, discussed a dissociation between music as an emotional system and language as an intellectual system. Richard Wallaschek seems to have been the only one from the late-nineteenth century to synthesize ideas from musicology, psychology, and neurology. He used ideas from psychology to explain music processing and audience reactions and also used case studies from neurology to support arguments about the nature of music. Understanding the history of this research sheds light on the development of all three disciplines—musicology, neurology, and psychology. Keywords mental representation Tonvorstellung Stumpf (Carl) Gestalt psychology aphasia amusia Knoblauch (August) origins of music music and emotion Jackson (John Hughlings) Wallaschek (Richard) 1 Introduction
The relationship between music and brain has emerged as a central issue in the twenty-first century in the field of music cognition, as well as a topic of investigation in the field of neuroscience. How and why did music come to be one of the domains of brain research? This question takes us back to the late-nineteenth century, when investigations of music and brain became a shared element in the newly emerging fields of psychology, musicology, and neurology. Researchers in these three disciplines, primarily located in Germany, France, and England, were interested in various aspects of music and how the brain processes music. Because these academic disciplines were new, domains of knowledge for each were fluid and overlapped with other disciplines. Psychologists and musicologists shared concepts and discussions, and thought in terms of multiple levels of sensory processing and mental representation. While neurologists discussed similar concepts, they pursued a completely separate research path focused on localization of music function within the brain, including a dissociation between music as an emotional system and language as an intellectual system. 2 Brain Processing of Music
2.1 Music Perception and Cognition
The modern study of music perception and cognition is often traced to the work of Hermann von Helmholtz (1821–1894), a German physicist, physician, and physiologist (see the chapter “Franz Joseph Gall and Music: The Faculty and the Bump” by Eling et al., as well as Graziano and Johnson, 2013, for discussion of earlier roots of the study of music perception). Helmholtz took the scientific study of music from acoustics to perception, from the physical to the physiological—he “…shifted the focus of inquiry from exterior to interior aspects of the perceptual process” (Green and Butler, 2002). Helmholtz (1863) believed the physical aspects of music (acoustical properties) had been addressed by his time but the physiological and psychological aspects of music still needed investigation. He stated: Now whilst the physical side of the theory of hearing has been already frequently attacked, the results obtained for its physiological [sic] and psychological [sic] sections are few, imperfect, and accidental. Yet it is precisely the physiological part in especial—the theory of the sensations of hearing—to which the theory of music has to look for the foundation of its structure. von Helmholtz (1877/1954, p. 4) Helmholtz explored the anatomy and physiological processes of the ear, which led him to describe three levels of music perception: (1) acoustical properties of sound that lead to (2) physiological processes in the ear resulting in sensations (Empfindungen) that lead to (3) mental images (Vorstellungen), which are perceptions (Wahrnehmungen). He was particularly interested in the development and role of sensations. Helmholtz's work led to the study of Tonpsychologie (tone psychology), focused on the physical and physiological aspects of sound, as well as on sensations produced by individual musical elements. This line of research was pursued in Germany among psychologists and some musicologists (who overlapped with psychology). The musicologists involved were practitioners of comparative musicology, later known as ethnomusicology. During the second half of the nineteenth century, the study of Tonpsychologie expanded. Some researchers considered how a combination of individual musical elements formed entire musical compositions. This emphasis on higher-level music led to investigations of higher-order cognitive processes, the study of Musikpsychologie (music psychology). The practitioners of Musikpsychologie focused on mental representations or conceptions (Vorstellungen) for music (see Gjerdingen, 2002, for detailed discussion of Musikpsychologie). Carl Stumpf (1848–1936), a German psychologist and comparative musicologist, was one of those who discussed mental representation for music, emphasizing the psychological rather than the physiological. Stumpf's work can be seen as a precursor to Musikpsychologie. Like Helmholtz, Stumpf (1883) discussed different levels of music perception: sensations (Empfindungen) result from hearing or remembering a sound; sensations become mental representations (Vorstellungen), which are then analyzed (Urteil); the analysis of mental representations leads to understanding or knowledge (Erkenntnis). He explored several musical elements, such as musical consonance. Stumpf (1883, 1890, 1911) detailed how the perception of consonance is psychological rather than physiological. The sensation of an interval (two simultaneous tones) leads to a mental representation, the analysis of which results in an understanding of the sound as a whole rather than as two separate tones. The two tones fuse into a sound of consonance. This was Stumpf's theory of tonal fusion (Verschmelzung) (Ash, 1995; Green and Butler, 2002). The perceptual process of fusion leads to an understanding that intervals are transposable—for example, the same perception of consonance results for all fifths, regardless of the specific pitches involved. Stumpf speculated that tonal fusion developed in “primitive cultures” when adults and children called out to each other in different vocal ranges, creating different combinations of tones. He stated: Of all the combinations, only one has the virtue of pitch simultaneity that is similar to the point of confusion with the impression of a single note: the octave [sic]…In psycho-acoustics [sic] we know this characteristic by the name fusion, and even Greek music theorists found the essence of ‘consonance’ in it. This unity of simultaneous pitches in the octave did not arise initially through music itself. It is not the result of a musical development, rather a phenomenon that is necessarily conditioned by the nature of tones or the brain processes on which they are based. Stumpf (1911/2012, p. 46) Stumpf (1911) stated that intervals other than the octave exhibited the same characteristic of fusion, especially the fifth and the fourth. Theodore Lipps (1851–1910) was another psychologist who described a series of perceptual events from the physical to the psychological, resulting in a mental representation for music (Lipps, 1905/1926). Both Stumpf and Lipps emphasized the psychological aspects of perception, while concentrating on individual musical elements removed from musical context. An interest in mental representation for music was also seen in early Gestalt psychologists, such as Christian von Ehrenfels (1859–1932). Ehrenfels (1890) described Gestalt qualities (Gestaltqualitäten) as patterns that operate in space and through time and are holistic—they go beyond the separate elements found within them. These patterns, or qualities, are mental representations created from sensations—Ehrenfels used the term “Tonvorstellung” to refer to a Gestalt quality or pattern. Ehrenfel's...
