- Title Pages
- List of Contributors
- Chapter 1 Musical Predispositions in Infancy: an Update
- Chapter 2 The Quest for Universals in Temporal Processing in Music
- Chapter 3 Mechanisms of Musical Memory in Infancy
- Chapter 4 Music, Cognition, Culture, and Evolution
- Chapter 5 Is Music an Evolutionary Adaptation?
- Chapter 6 The Roots of Musical Variation in Perceptual Similarity and Invariance
- Chapter 7 Tonal Cognition
- Chapter 8 Learning and Perceiving Musical Structures: Further Insights from Artificial Neural Networks
- Chapter 9 Neurobiology of Harmony Perception
- Chapter 10 Intracerebral Evoked Potentials in Pitch Perception Reveal a Functional Asymmetry of Human Auditory Cortex
- Chapter 11 The Neural Processing of Complex Sounds
- Chapter 12 Music and the Neurologist: A Historical Perspective
- Chapter 13 Brain Specialization for Music: New Evidence from Congenital Amusia
- Chapter 14 Cerebral Substrates for Musical Temporal Processes
- Chapter 15 Cerebral Substrates of Musical Imagery
- Chapter 16 Neural Specializations for Tonal Processing
- Chapter 17 Exploring the Functional Neuroanatomy of Music Performance, Perception, and Comprehension
- Chapter 18 Comparison Between Language and Music
- Chapter 19 Musical Sound Processing: EEG and MEG Evidence
- Chapter 20 Processing Emotions Induced by Music
- Chapter 21 A New Approach to the Cognitive Neuroscience of Melody
- Chapter 22 How many Music Centres are in the Brain?
- Chapter 23 Functional Organization and Plasticity of Auditory Cortex
- Chapter 24 The Brain of Musicians
- Chapter 25 Representational Cortex in Musicians
- Chapter 26 The Brain that makes Music and is Changed by it
- Chapter 27 The sounds of Poetry viewed as Music
- Chapter 28 Does Exposure to Music Have Beneficial Side Effects?
Neurobiology of Harmony Perception
Neurobiology of Harmony Perception
- (p.126) (p.127) Chapter 9 Neurobiology of Harmony Perception
- The Cognitive Neuroscience of Music
Mark Jude Tramo
Peter A. Cariani
Louis D. Braida
- Oxford University Press
This chapter reports the neurophysiological, neurological, and psychoacoustic evidence to support the contentions that pitch relationships among tones in the vertical dimension influence consonance perception and consonance cannot be explained solely by the absence of roughness. It introduces the terminology and basic psychoacoustics pertinent to the subsequent discussion of experimental results. It then shows that the harmonic relationships of tones in musical intervals are represented in the temporal discharge patterns of auditory nerve fibres. It critically reevaluates the psychoacoustic literature concerning the consonance of isolated intervals and chords, paying particular attention to the relationships among interval width, roughness detection thresholds, and consonance ratings and the predictions of roughness-based computational models about relative consonance as a function of spectral energy distribution. Finally, it describes the evidence that impairments in consonance perception following auditory cortex lesions are more likely to result from deficits in pitch perception than to deficits in roughness perception. This evidence highlights the dependence of so-called low-level perceptual processing on the integrity of the auditory cortex, the highest station in the auditory nervous system.
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