AUTHORS: Báez-ávila Jcf, Jiménez Ángeles, Pérez-acosta
Download as PDF
ABSTRACT: Professional musicians have learned to perceive music using different strategies; one of them is rhythmic grouping, commonly referred as rhythmic perception. Specifically, most studies suggest that perception of regular rhythmic patterns in musicians favors a specialization of the left hemisphere. This paper suggests that the use of irregular rhythmic sequences favour an activation of different brain areas from those observed in previous studies during perception of regular rhythmic sequences.
KEYWORDS: Rhythm, Perception, Irregular rhythms, Motor-related areas, Rhythm processing, fMRI
REFERENCES:
[1] Lerdahl, F., & Jackendoff, R. S. (1983). A Generative Theory of Tonal Music. MIT Press.
[2] Evers, S., Dannert, J., Rödding, D., Rötter, G., & Ringelstein, E. B. (1999). The cerebral haemodynamics of music perception. A transcranial Doppler sonography study. Brain : A Journal of Neurology, 122 (Pt 1, 75–85).
[3] Poeppel, D. (1996) A critical review of PET studies of phonological processing. Brain Lang., 55, 317–351.
[4] Grahn JA, Brett M (2007) Rhythm and beat perception in motor areas of the brain. J Cogn Neurosci.19 (5):893-906.
[5] Grahn JA (2009) The role of the basal ganglia in beat perception: neuroimaging and neuropsychological investigations. Ann N Y Acad Sci.1169:35-45.
[6] Oshini, T, Matsuda H, Asada T, Hirakata M, Nishikawa M, Katoh A, Imabayashi E (2001) Functional Anatomy of Musical Perception in Musicians. Cereb. Cortex 11 (8): 754-760.
[7] Dawe, L. a, Platt, J. R., & Racine, R. J. (1995). Rhythm perception and differences in accent weights for musicians and nonmusicians. Perception & Psychophysics, 57(6), 905–14.
[8] Novotney, Eugene D. (1998), The Three Against Two Relationship as the Foundation of Timelines in West African Musics, Urbana, IL: University of Illinois, page 147
[9] Agawu, Kofi (2003). Representing African music: postcolonial notes, queries, positions. New York, N.Y.; London: Routledge. ISBN 0-415-94390-6.
[10] Greenwood, David Peñalosa; Peter; collaborator, editor, (2009). The clave matrix: Afro-Cuban rhythm: its principles and African origins. Redway, CA: Bembe Books. p. 236. ISBN 1-886502-80-3.
[11] Limb, C. J., Kemeny, S., Ortigoza, E. B., Rouhani, S., & Braun, A. R. (2006). Left hemispheric lateralization of brain activity during passive rhythm perception in musicians. The Anatomical Record. Part A, Discoveries in Molecular, Cellular, and Evolutionary Biology, 288(4), 382–9. http://doi.org/10.1002/ar.a.20298
[12] Zatorre RJ, Belin P. (2001). Spectral and temporal processing in human auditory cortex. Cereb Cortex; 11:946.953).
[13] Madison, G. 2004. Fractal modeling of human isochronous serial interval production. Biol. Cybern. 90: 105–112.
[14] Jongsma ML, Desain P, Honing H. (2004) Rhythmic context influences the auditory evoked potentials of musicians and non-musicians. Biol Psychol. 66 (2):129-52
[15] Large, E. W., & Snyder, J. S. (2009). Pulse and meter as neural resonance. Annals of the New York Academy of Sciences, 1169, 46–57. http://doi.org/10.1111/j.1749-6632.2009.04550.x
[16] Rhythm Perception in Musicians. The anatomical record: 382-389
[17] Monfort Mathew, Ancient Traditions–Future Possibilities: Rhythmic Training Through the Traditions of Africa, Bali and India. ISBN 0-937879-00-2.
[18] Vuust, P., & Witek, M. A. G. (2014). Rhythmic complexity and predictive coding: a novel approach to modeling rhythm and meter perception in music. Frontiers in Psychology, 5, 1111. http://doi.org/10.3389/fpsyg.2014.01111