Beethoven's Anvil: Music in Mind and CultureOxford University Press, 2002 - 336 sivua Why does the brain create music? In Beethoven's Anvil, cognitive scientist and jazz musician William Benzon finds the key to music's function in the very complexity of musical experience. Music demands that our symbol-processing capacities, motor skills, emotional and communicative skills all work in close coordination - not only within our own heads but with the heads (and bodies) of others. Music is at once deeply personal and highly social, highlydisciplined and open to emotional nuance and interpretation. It's precisely this coordination of different mental functions, Benzon argues, that underlies our deep need to create and participate in music. Musicsynchronizes the brain and has had a profound, and little-appreciated, influence on the shape of the mind and human cultures.This is a remarkable book: both daring and scholarly, it offers a sweeping vision of a vital, underappreciated force in our minds and culture. |
Sisältö
2 | 24 |
3 | 33 |
Dynamics and Brain States | 47 |
Musical Consciousness and Pleasure | 69 |
567 | 93 |
93 | 143 |
8 | 169 |
9 | 176 |
Musicking the World | 195 |
10 | 201 |
Music and Civilization | 222 |
Through Jazz and Beyond | 250 |
| 325 | |
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Yleiset termit ja lausekkeet
activity African American animal anxiety attractors audience auditory system band basic behavior Benzon Bernstein biological body brain Cambridge centers century chapter Chicago Press circuitry classical Clynes Cognition complex consciousness consider cortical coupled create cultural dance drum dynamics edited emergence emotion essentic form evolution experience expressive external world feel Freeman function Gestalt switch gesture stream groove stream happen hear hemisphere hip hop hippocampus human imagine individuals inner jazz Keil language Leonard Bernstein limbic system listening means mechanisms melody memes memetic mind motor system move muscles musicians neocortex nervous system neural weather neurodynamics neurons one's organized oscillators Panksepp patterns performance phrase physical pitch playing pleasure Rahsaan Roland Kirk regulated rhythm rhythmic ritual role sense simply singing social society solo song sound speech structures style subcortical suggests talk thirty-two-bar form tion tones tumbling strain tune virtual vocal Wallin Walter Freeman York
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