音乐感知能力神经可塑性研究
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摘要
音乐是探究人脑高级认知能力的有效窗口,目前有关人类音乐感知能力是否具有神经可塑性的研究还具争论。鉴于国外学者对接受不同音乐训练程度被试的对比研究,以及不同注意水平条件下被试音乐知觉神经模式研究,认为在对音乐感知能力的神经可塑性研究中,在探究音乐训练程度这一因素影响的同时,不同注意水平这一因素作用的有无,以及作用程度的大小都是值得探讨的。因此,本研究运用事件相关电位(ERP)技术进行了三种注意水平下音乐专家和普通人对和声不规则和弦脑电反应的对比研究,目的在于探讨音乐感知能力的神经可塑性,为我国音乐教育及音乐人才的培养和选拔提供基础。
本研究分为三个实验进行:实验一即在非注意实验条件下进行音乐感知能力的研究;实验二即在前注意实验条件下进行音乐感知能力的研究;实验三即在注意实验条件下进行音乐感知能力的研究,研究结果表明:
1)类似于前人的研究,不规则和弦在音乐专家和普通人中都产生了右前负极性(简称ERAN),音乐专家的ERAN比普通人的振幅更大,潜伏期更早。
2)伴随着ERAN,不规则和弦在音乐专家和普通人中还产生了晚期负极成分(简称N5),它反应了音乐的整合。音乐专家的N5比普通人的振幅更大,潜伏期更早,表明在时间维度和程度上,专家的整合程度要优于一般被试,专家更加注重对音乐的整体知觉。
3)通过违例和弦出现位置的不同,如违例和弦分别出现在第三位置和第五位置上的对比研究,发现第五位置上产生的ERAN和N5比第三位置上产生的振幅更大,表明这两种成分受违例位置的影响,揭示了音乐知觉不同阶段认知神经模型的差异。
4)这两种成分在三种注意水平下(非注意、前注意、注意)没有显著性差异,表明这两种ERP成分在非注意条件下就能够产生,人类的音乐加工是自动的。
总之,普通人对违例和弦的辨别说明了人类的音乐感知能力是普遍具有的,是内隐地获得的,并且这种能力经过后天的训练会进一步提高,音乐家以更快更自主的方式进行着音乐的加工,这表明了音乐感知能力具有神经可塑性。这一结论进一步为我国的音乐教育及音乐人才的培养提供了可资借鉴的基础。
Music is a valid window way to investigate our human beings' high level cognitive abilities. So far as we know, we still not sure that the music perception ability has its own plasticity. According to the studies abroad, which compared the subjects with different music training levels, and the studies concerning different music perception neural modes at different consciousness levels, it is quite necessary to discuss whether, and to which extend different consciousness levels has its own effect, while investigating the effect of different music training levels. Therefore ERP technique was applied to study the brain reactions of music experts and ordinary ones to harmony/irregular chords at three different consciousness levels, with the purpose of investigating the plasticity of music perception ability, offering some suggestions for our music education and music talents' raise.
Our study contained three sub experiments: First, we looked into the music perception neural mode under the un-attention condition, then pre-attention condition, and attention condition at last. It suggested that:
1. Similar to the past studies, ERAN was also acquired when irregular chords was played to both music experts and ordinary persons, with the former swings larger than the latter ones, and the former delitescence earlier than the latter ones.
2. N5 was also acquired in the same condition, and it reflected the conformity process of music perception. The swings of experts' N5 were lager than the ordinary ones, and delitescence earlier. It reflected the conformity of music expert better than ordinary persons. And experts paid more attentions to integer perception while listening to music.
3. It also showed the position effect, that was irregular chords appeared at the third or fifth position, and the swings and the delitescence were quite different. It uncovered the different neural modes at different music perception phases.
4. The two components had no significant differences with their swings at the three attention levels. It meant that these two ERP components could be acquired under non-attention condition, and music processing was automatic.
In conclusion, the reactions of ordinary persons' perception to music meant the universality and implicity of human beings' music perception abilities, which could be bettered by training. And music experts could process music with a more fast and independent way, this fact suggested the plasticity of music perception ability. And this result could be helpful to our music education and music talents' raise.
本研究分为三个实验进行:实验一即在非注意实验条件下进行音乐感知能力的研究;实验二即在前注意实验条件下进行音乐感知能力的研究;实验三即在注意实验条件下进行音乐感知能力的研究,研究结果表明:
1)类似于前人的研究,不规则和弦在音乐专家和普通人中都产生了右前负极性(简称ERAN),音乐专家的ERAN比普通人的振幅更大,潜伏期更早。
2)伴随着ERAN,不规则和弦在音乐专家和普通人中还产生了晚期负极成分(简称N5),它反应了音乐的整合。音乐专家的N5比普通人的振幅更大,潜伏期更早,表明在时间维度和程度上,专家的整合程度要优于一般被试,专家更加注重对音乐的整体知觉。
3)通过违例和弦出现位置的不同,如违例和弦分别出现在第三位置和第五位置上的对比研究,发现第五位置上产生的ERAN和N5比第三位置上产生的振幅更大,表明这两种成分受违例位置的影响,揭示了音乐知觉不同阶段认知神经模型的差异。
4)这两种成分在三种注意水平下(非注意、前注意、注意)没有显著性差异,表明这两种ERP成分在非注意条件下就能够产生,人类的音乐加工是自动的。
总之,普通人对违例和弦的辨别说明了人类的音乐感知能力是普遍具有的,是内隐地获得的,并且这种能力经过后天的训练会进一步提高,音乐家以更快更自主的方式进行着音乐的加工,这表明了音乐感知能力具有神经可塑性。这一结论进一步为我国的音乐教育及音乐人才的培养提供了可资借鉴的基础。
Music is a valid window way to investigate our human beings' high level cognitive abilities. So far as we know, we still not sure that the music perception ability has its own plasticity. According to the studies abroad, which compared the subjects with different music training levels, and the studies concerning different music perception neural modes at different consciousness levels, it is quite necessary to discuss whether, and to which extend different consciousness levels has its own effect, while investigating the effect of different music training levels. Therefore ERP technique was applied to study the brain reactions of music experts and ordinary ones to harmony/irregular chords at three different consciousness levels, with the purpose of investigating the plasticity of music perception ability, offering some suggestions for our music education and music talents' raise.
Our study contained three sub experiments: First, we looked into the music perception neural mode under the un-attention condition, then pre-attention condition, and attention condition at last. It suggested that:
1. Similar to the past studies, ERAN was also acquired when irregular chords was played to both music experts and ordinary persons, with the former swings larger than the latter ones, and the former delitescence earlier than the latter ones.
2. N5 was also acquired in the same condition, and it reflected the conformity process of music perception. The swings of experts' N5 were lager than the ordinary ones, and delitescence earlier. It reflected the conformity of music expert better than ordinary persons. And experts paid more attentions to integer perception while listening to music.
3. It also showed the position effect, that was irregular chords appeared at the third or fifth position, and the swings and the delitescence were quite different. It uncovered the different neural modes at different music perception phases.
4. The two components had no significant differences with their swings at the three attention levels. It meant that these two ERP components could be acquired under non-attention condition, and music processing was automatic.
In conclusion, the reactions of ordinary persons' perception to music meant the universality and implicity of human beings' music perception abilities, which could be bettered by training. And music experts could process music with a more fast and independent way, this fact suggested the plasticity of music perception ability. And this result could be helpful to our music education and music talents' raise.
引文
[1]Sachiko Chikahisa,Hiroyoshi Sei,Masaki Morishima,Atsuko Sano,Kazuyoshi Kitaoka,Yutaka Nakaya and Yusuke Morita.Exposure to music in the perinatal period enhances learning performance and alters BDNF/TrkB signaling in mice as adults.Behavioural Brain Research,2006,2(169):312-319
[2]Johnson k,Grazino.August knoblauch and amusia:a nineteenth-century cognitive model of music.Brain and Cognition.2003,1(51):102-114
[3]Jusczyk P W.How infants begin to extract words from speech.Trends Cognitive Science.1999,3(9):323-328
[4]Kaas J H,Hackett T A,Tramo J M.Auditory processing in primate cerebral cortex.Current Opinion in Neurobiology,1999,9(2):164-170
[5]Patel et al.Processing Syntactic Relations in Language and Music:An Event-Related Potential Study.Journal of Cognitive Neuroscience,1998,10(6):717-733
[6]Peretz.I.The nature of music from a biological perspective.Cognition,2005,11(4):1-32
[7]Lerdahl F,Jackendoff R.A generative theory of tonal music.Cambridge,MA:MIT Press,1983:3
[8]Frances et al.,R.Frances,A.Zenatti and M.Imberty,Le domaine musical.In:R.Frances,Editor,Psychologie de l'art et de l'esthetique,Presses Universitaires de France,Paris,1979:139-193
[9]Pantev,Lutkenhoner,Pantev,.Lutkenhoner.B.Magnetoencephalographic studies of functional organization and plasticity of the human auditory cortex.Journal of Clinical Neurophysiology,2000,17(2):130-142.
10 Elbert et al.Increased cortical representation of the fingers of the left hand in string players,Science,1995,5234:305-307.
11 Gaser,Schlaug,Gaser,Schlaug G,Brain structures differ between musicians and non-musicians.The Journal of Neuroscience,2003,23(27):9240-9245.
12 Pantev et al.Music and learning-induced cortical plasticity.Annals of the New York Academy of Sciences,2003,11(999):438-450.
13 Frances,R.Frances,La perception de la musique(2nd ed.),Librairie Philosophique J.Vrin,Paris,1958.
14 Sachiko Chikahisa,Hiroyoshi Sei,Masaki Morishima,Atsuko Sano,Kazuyoshi Kitaoka,Yutaka Nakaya and Yusuke Morita.Exposure to music in the perinatal period enhances learning performance and alters BDNF/TrkB signaling in mice as adults.Behavioural Brain Research,2006,2(169):312-319
15 刘沛.脑科学:21世纪音乐教育理论与实践的新基石——围绕“莫扎特效应”的科学研究和展望.中国音乐学》,2000(3)
16 Koelsch S.Neural substrates of processing syntax and semantics in music.Current Opinion in Neurobiology,2005,15(2):207-212
17 Koelsch S,Walter A S.Towards a neural basis of music perception.Trends in Cognitive Sciences,2005,9(12):578-584
18 Koelsch S,Gunter T C,Friederici A D,Schroger E.Brain indices of music processing "non-musicians" are musical.Journal of Cognitive Neuroscience,2000,12:520-541
19 Kutas M,Federmeier K D.Electrophysiology reveals semantic memory use in language comprehension.Trends in Cognitive Science,2000,4(12):463-470
20 Koelsch S.et al.Music,language,and meaning:Brain signatures of semantic processing.Nature Neuroscience,2004,7:302-307
21 Besson M,Faita F.An event-related potential(ERP)study of musical expectancy:comparison of musicians with nonmusicians.Journal of Experimental Psychology:Human Perception and Performance,1995,21(6):1278-1296
22 Douglas Eck,Scott S K.New research in rhythm perception and production.Music Perception,2005,22(3):3365-369
23 Gaser C,Schlaugt G.Brain Structures Differ Between Musicians and Non-Musician.Nemolmage 2001,13(6):1168
24 Burns,.Burns E M.Intervals,scales,and tuning.The psychology of music,Academic Press,New York,1982:215-264.
25 Krumhansl,Shepard,Krumhansl C L,Shepard R N.Quantification of the hierarchy of tonal functions within a diatonic context.Journal of Experimental Psychology:Human Perception and Performance,1979,5,(4):579-594.
26 Koelsch S et al.Adults and children processing music:An fMRI study.Neurolmage 2005,25:1068-1076
27 Koelsch S.et al.Electric brain responses reveal gender differences in music processing.Neuroreport,2003,2(6):709-713
28 Steven j.Morrison et al.FMRI investigation of cross-cultural music comprehension.Neuroimage,2003(20):378-384
29 Arikan M K,Devrim M,Oran O,lnan S,Elhih M,Demiralp T.Music effects on event-related potentials of humans on the basis of cultural environment.Neuroscience Letters,1999,268:21-24
30 Genc B O,Genc E,Tastekin G,Iihan N.Musicogenic epilepsy with ictai single photon emission computed to mography(spect):could these cases contribute to our knowledge of music processing.European Journal of Neurolinguistics,2001,8:191-194
31 Steven J,Morrison et al.FMRI investigation of cross-cultural music comprehension.Neuroimage,2003(20):378-384
32 Koelsch S,Gunter E,Tervanicimi M,Sammler D,Friederici A D.Differentiating ERAN and MMN:an ERP study.NeuroReport 12(7)(2001):1385-
33.Woldorff M G.Selective listening at fast stimulus rates:so much to hear,so little time,Perspect.Event-Relat.Potentials Res.(EEG Suppl.44),1995:32-51
34 Woldorff M G,.Hackley S A,.Hillyard S A.The effects of channel selective attention on the mismatch negativity wave elicited by deviant tones,Psychophysiology1991,28;30-42.
35.Woldorff M G,.Hillyard S A,Gallen C C,Hampson S R,Bloom F E,Magnetoencephalographic recordings demonstrate attentional modulation of mismatch-related neural activity in human auditory cortex.Psychophysiology,1998,35:283-292.
36 Janata P.ERP measures assay the degree of expectancy violation of harmonic contexts in music.Cogn.Neurosci. 1995,7:153-164.
37 Koelsch S,Walter A S.Towards a neural basis of music perception.Trends in Cognitive Sciences,2005,9(12):578-584
38 Ledoux J E.Emotion circuits in the brain.Annual Review of Neuroscience,2000,23:155-184
39 Ongur D,Price J L.The organization of networks within the orbital and medial prefrontal cortex of rats,monkeys and humans.Cerebral Cortex,2000,10(3):206-219
40 Naatanen R.et al.'Primitive intelligence' in the auditory cortex.Trends in Neuroscience,2001,24(4):283-288
41 Koelsch S.Superior attentive and pre-attentive auditory processing in musicians.Neuroreport,1999,10(6):1309-1313
42 Fujioka T.et al.Musical training enhances automatic encoding of melodic contour and interval structure.Journal of Cognitive Neuroscience,2004,16(6):1010-1021
43 Tervaniemi M.et al.Superior formation of cortical memory traces for melodic patterns in musicians.Learning &.Memory,2001,8(5):295-300
44 van Zuijen,Titia L.et al.Grouping of sequential sounds:An event-related potential study comparing musicians and nonmusicians.Journal of Cognitive Neuroscience,2004,16(2):331-338
45 王净,杨玉芳.听觉场景分析及其评价.心理学动态,1998,4(1):1-5
46 Peretz I.,Zatorre R J.Brain organization for music processing.Annual Review of Psychology,2005,56:89-114
47 Pietro D M.et al.Receptive amusia:Temporal auditory processing deficit in a professional musician following a left temporo-parietal lesion.Neuropsychologia,2004,42(7):868-877
48 Griffiths T D.et al.A common neural substrate for the analysis of pitch and duration pattern in segmented sound.Neuroreport,1999,10(18):3825-3830
49 Patterson R D.et al.The processing of temporal pitch and melody information in auditory cortex.Neuron,2002,36(4):767-776
50 Zatorre R J.et al.Neural mechanisms underlying melodic perception and memory for pitch.Journal of Neuroscience,1994,14(4):1908-1919
51 Griffiths T D,Warren J D.The planum temporale as a computational hub.Trends in Neurosciences,2002,25(7):348-353
52 Covington H,Crosby C.Music therapy as a nursing intervention.Journal of Psychosocial Nursing and Mental HealthServices,1997,35(3):3467
53 Underwood,Underwood,Implicit cognition,Oxford University Press,Oxford,1996.
54 Tillmann.B,Peretz,.I,Bigand.E.Harmonic priming in an amusic patient.Paper presented at the 5th European Society for the Cognitive Sciences of Music,2003,9:8-13.
55 Koelsch.S et al.Processing tonal modulations:an ERP study.Journal of Cognitive Neuroscience,2003,15(8):1149-1159
56 赵仑.ERP实验教程[M].天津社会科学出版社,2004:79-81
57 Keolsch S et al.Differentiating ERAN and MMN:An ERP study.Neuroreport,2001,5(14):1385-1389
58 Hackley S A.An evaluation of the automaticity of sensory processing using event-related potentials and brain-stem reflexes.Psychophysioiogy,1993(30):415-428.
59 Woldorff M G.Modulation of early auditory processing during selective listening to rapidly presented tones.Neurophysiol,1991(28):170-191.
60 McGlone J.Behav Brain Sci.1980,3:215-263
61 Hier D.Bull Orton Soc.1979,29:74-83
62 Kramer JH,Dells DC,Kaplan E etal.Neuropsychology.1997,11:577-584
1. Arikan M K, Devrim M, Oran O, Inan S, Elhih M, Demiralp T. Music effects on event-related potentials of humans on the basis of cultural environment. Neuroscience Letters, 1999,268: 21-24
2. Besson M,Faita F.An event-related potential(ERP) study of musical expectancy:comparison of musicians with nonmusicians.Journal of Experimental Psychology:Human Perception and Performance, 1995,21 (6): 1278-1296
3. Burns, E.M. Burns.Intervals, scales, and tuning. The psychology of music, Academic Press,New York, 1982:215-264.
4. Covington H,Crosby C. Music therapy as a nursing intervention. Journal of Psychosocial Nursing and Mental Health Services,1997,35(3):3467.
5. Douglas Eck, Scott S K. New research in rhythm perception and production.Music Perception,2005,22(3):3365-369.
6. Elbert et al. Increased cortical representation of the fingers of the left hand in string players. Science,1995,5234:305-307.
7. Frances R,Frances. La perception de la musique (2nd ed.).Librairie Philosophique J. Vrin,Paris, 1958.
8. Fujioka T.et al.Musical training enhances automatic encoding of melodic contour and interval structure. Journal of Cognitive Neuroscience, 2004,16(6): 1010-1021.
9. Gaser,Schlaug,Schlaug GBrain structures differ between musicians and non-musicians.The Journal of Neuroscience ,2003,23 (27):9240-9245.
10. Genc B O, Genc E, Tastekin G, Iihan N. Musicogenic epilepsy with ictal single photon emission computed to mography (spect): could these cases contribute to our knowledge of music processing. European Journal of Neurolinguistics,2001,8:191-194.
11. Griffiths T D,Warren J D.The planum temporale as a computational hub. Trends in Neurosciences, 2002, 25(7):348-353
12. Griffiths T D. et al. A common neural substrate for the analysis of pitch and duration pattern in segmented sound. Neuroreport, 1999, 10(18):3825-3830
13 Janata P. ERP measures assay the degree of expectancy violation of harmonic contexts in music, J. Cogn. Neurosci,1995,7: 153- 164.
14. Johnson k,Grazino.August knoblauch and amusia:a nineteenth-century cognitive model of music.Brain and Cognition.2003,1(51):102-114.
15. Jusczyk P W. How infants begin to extract words from speech.Trends Cognitive Science, 1999,3 (9): 323-328.
16. Kaas J H, Hackett T A, Tramo J M. Auditory processing in primate cerebral cortex. Current Opinion in Neurobiology,1999, 9(2):164—170.
17. Koelsch S.Neural substrates of processing syntax and semantics in music.Current Opinion in Neurobiology, 2005, 15(2):207-212.
18. Koelsch S,Walter A S. Towards a neural basis of music perception. Trends in Cognitive Sciences, 2005,9(12):578-584
19. Koelsch S, Gunter T C, Friederici A D, Schroger E. Brain indices of music processing "non-musicians" are musical. Journal of Cognitive Neuroscience, 2000, 12:520-541
20. Koelsch S. et al. Music, language, and meaning: Brain signatures of semantic processing. Nature Neuroscience, 2004, 7:302-307
21. Koelsch S.et al. Adults and children processing music: An fMRI study. NeuroImage 2005,25:1068-1076.
22. Koelsch.S.et al. Electric brain responses reveal gender differences in music processing.Neuroreport,2003,2(6):709-713
23. Koelsch.S.etal.Differentiating ERAN and MMN:an ERP study.NeuroReport, 2001 12(7):1385-1387
24. Koelsch S. Superior attentive and pre-attentive auditory processing in musicians. Neuroreport, 1999, 10(6): 1309-1313
25. Koelsch.S et al.Processing tonal modulations:an ERP study.Journal of Cognitive Neuroscience ,2003,15(8): 1149-1159
26. Kramer J H,Dells D C,Kaplan E .etal.Neuropsychology 1997,11:577-584.
27. Krumhansl, Shepard, Krumhansl C L, Shepard R N.Quantification of the hierarchy of tonal functions within a diatonic context. Journal of Experimental Psychology: Human Perception and Performance,1979, 5,(4): 579-594.
28. Kutas M, Federmeier K D. Electrophysiology reveals semantic memory use in language comprehension. Trends in Cognitive Science, 2000, 4(12):463-470
29. Lerdahl, F, Jackendoff, R.. A generative theory of tonal music.Cambridge, MA: MIT Press. 1983: P3
30. Ledoux J E. Emotion circuits in the brain. Annual Review of Neuroscience, 2000, 23: 155-184
31. McGlone J.Behav Brain Sci .1980,3:215-263.
32. Naatanen R.et al. 'Primitive intelligence' in the auditory cortex. Trends in Neuroscience, 2001, 24(4): 283-288
33. Ongur D., Price J L. The organization of networks within the orbital and medial prefrontal cortex of rats, monkeys and humans. Cerebral Cortex, 2000, 10(3):206—219
34. Pantev,Lutkenhoner,Pantev,Lutkenhoner B.Magnetoencephalographic studies of functional organization and plasticity of the human auditory cortex.. Journal of Clinical Neurophysiology ,2000,17 (2):130-142.
35. Pantev et al.Music and learning-induced cortical plasticity.Annals of the New York Academy of Sciences, 2003:438-450.
36. Patel et al.Processing Syntactic Relations in Language and Music: An Event-Related Potential Study. Journal of Cognitive Neuroscience, 1998,10(6):717-733
37. Patterson R D. et al. The processing of temporal pitch and melody information in auditory cortex. Neuron, 2002, 36(4):767-776
38. Peretz I.The nature of music from a biological perspective.Cognition , 2005,11 (4): 1 -32
39. Peretz I,Zatorre R J. Brain organization for music processing. Annual Review of Psychology, 2005,56:89-114.
40. Pietro D M. et al. Receptive amusia: Temporal auditory processing deficit in a professional musician following a left temporo-parietal lesion.Neuropsychologia, 2004,42(7):868-877.
41. Sachiko Chikahisa, Hiroyoshi Sei, Masaki Morishima, Atsuko Sano, Kazuyoshi Kitaoka, Yutaka Nakaya and Yusuke Morita .Exposure to music in the perinatal period enhances learning performance and alters BDNF/TrkB signaling in mice as adults. Behavioural Brain Research,2006,2(169):312-319
42. Steven J,Morrison et al .FMRI investigation of cross-cultural music comprehension.Neuroimage,2003(20):378-384
43. Tervaniemi M.et al. Superior formation of cortical memory traces for melodic patterns in musicians. Learning &. Memory, 2001, 8(5):295-300
44. Tillmann B, Peretz I,Bigand E. Harmonic priming in an amusic patient. Paper presented at the 5th European Society for the Cognitive Sciences of Music, 2003,9:8-13.
45.Underwood.Implicit cognition.Oxford University Press,1996.
46.van Zuijen,Titia L.et al.Grouping of sequential sounds:An event-related potential study comparing musicians and nonmusicians.Journal of Cognitive Neuroscience,2004,16(2):331-338
47.Woidorff M G.Selective listening at fast stimulus rates:so much to hear,so little time,Perspect.Event-Relat.Potentials Res.(EEG Suppl.44),1995:32-51
48.Woldorff M G,Hackley S A,Hillyard S A.The effects of channel selective attention on the mismatch negativity wave elicited by deviant tones,Psychophysiology 1991,28:30-42.
49.WoldorffM G,Hillyard SA,Gallen C C,Hampson S R,Bloom F E.Magnetoencephalographic recordings demonstrate attentional modulation of mismatch-related neural activity in human auditory cortex,Psychophysiology 1998,35:283-292.
50.Zatorre R J.et al.Neural mechanisms underlying melodic perception and memory for pitch.Journal of Neuroscience,1994,14(4):1908-1919
1.崔宁.音乐教育的认知价值与大脑心理效应分析.杭州师范学院学报(社会科学版),2004,9(5):111-115
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3.刘沛.神经音乐学及其研究切入点的动议.星海音乐学院学报,2001,6(2):29-31
4.刘沛.世纪之交的美国音乐教育战略——《豪斯赖特宣言》:前瞻2020年音乐教育的观念与行动纲领.中国音乐学,2001(4):29-35
5.刘沛.音乐成就测量与评价的认知主义方向.音乐教育研究,2001(4):38-40
6.刘沛.脑科学:21世纪音乐教育理论与实践的新基石——围绕“莫扎特效应”的科学研究和展望》,《中国音乐学》,2000(3):56-58
7.王净,杨玉芳.听觉场景分析及其评价.心理学动态,1998,4(1):1-5
8.赵东梅,刘志雅.音乐心理学研究的历史与现状分析。星海音乐学院学报,2006,6(2):24-27
9.郑茂平.音乐知觉期待的研究述评.心理科学进展,2006,14(6):866-872
10.资利萍.认知心理学向艺术领域的拓展及对音乐教育的启示.中国音乐学,2005,2:133-136
[2]Johnson k,Grazino.August knoblauch and amusia:a nineteenth-century cognitive model of music.Brain and Cognition.2003,1(51):102-114
[3]Jusczyk P W.How infants begin to extract words from speech.Trends Cognitive Science.1999,3(9):323-328
[4]Kaas J H,Hackett T A,Tramo J M.Auditory processing in primate cerebral cortex.Current Opinion in Neurobiology,1999,9(2):164-170
[5]Patel et al.Processing Syntactic Relations in Language and Music:An Event-Related Potential Study.Journal of Cognitive Neuroscience,1998,10(6):717-733
[6]Peretz.I.The nature of music from a biological perspective.Cognition,2005,11(4):1-32
[7]Lerdahl F,Jackendoff R.A generative theory of tonal music.Cambridge,MA:MIT Press,1983:3
[8]Frances et al.,R.Frances,A.Zenatti and M.Imberty,Le domaine musical.In:R.Frances,Editor,Psychologie de l'art et de l'esthetique,Presses Universitaires de France,Paris,1979:139-193
[9]Pantev,Lutkenhoner,Pantev,.Lutkenhoner.B.Magnetoencephalographic studies of functional organization and plasticity of the human auditory cortex.Journal of Clinical Neurophysiology,2000,17(2):130-142.
10 Elbert et al.Increased cortical representation of the fingers of the left hand in string players,Science,1995,5234:305-307.
11 Gaser,Schlaug,Gaser,Schlaug G,Brain structures differ between musicians and non-musicians.The Journal of Neuroscience,2003,23(27):9240-9245.
12 Pantev et al.Music and learning-induced cortical plasticity.Annals of the New York Academy of Sciences,2003,11(999):438-450.
13 Frances,R.Frances,La perception de la musique(2nd ed.),Librairie Philosophique J.Vrin,Paris,1958.
14 Sachiko Chikahisa,Hiroyoshi Sei,Masaki Morishima,Atsuko Sano,Kazuyoshi Kitaoka,Yutaka Nakaya and Yusuke Morita.Exposure to music in the perinatal period enhances learning performance and alters BDNF/TrkB signaling in mice as adults.Behavioural Brain Research,2006,2(169):312-319
15 刘沛.脑科学:21世纪音乐教育理论与实践的新基石——围绕“莫扎特效应”的科学研究和展望.中国音乐学》,2000(3)
16 Koelsch S.Neural substrates of processing syntax and semantics in music.Current Opinion in Neurobiology,2005,15(2):207-212
17 Koelsch S,Walter A S.Towards a neural basis of music perception.Trends in Cognitive Sciences,2005,9(12):578-584
18 Koelsch S,Gunter T C,Friederici A D,Schroger E.Brain indices of music processing "non-musicians" are musical.Journal of Cognitive Neuroscience,2000,12:520-541
19 Kutas M,Federmeier K D.Electrophysiology reveals semantic memory use in language comprehension.Trends in Cognitive Science,2000,4(12):463-470
20 Koelsch S.et al.Music,language,and meaning:Brain signatures of semantic processing.Nature Neuroscience,2004,7:302-307
21 Besson M,Faita F.An event-related potential(ERP)study of musical expectancy:comparison of musicians with nonmusicians.Journal of Experimental Psychology:Human Perception and Performance,1995,21(6):1278-1296
22 Douglas Eck,Scott S K.New research in rhythm perception and production.Music Perception,2005,22(3):3365-369
23 Gaser C,Schlaugt G.Brain Structures Differ Between Musicians and Non-Musician.Nemolmage 2001,13(6):1168
24 Burns,.Burns E M.Intervals,scales,and tuning.The psychology of music,Academic Press,New York,1982:215-264.
25 Krumhansl,Shepard,Krumhansl C L,Shepard R N.Quantification of the hierarchy of tonal functions within a diatonic context.Journal of Experimental Psychology:Human Perception and Performance,1979,5,(4):579-594.
26 Koelsch S et al.Adults and children processing music:An fMRI study.Neurolmage 2005,25:1068-1076
27 Koelsch S.et al.Electric brain responses reveal gender differences in music processing.Neuroreport,2003,2(6):709-713
28 Steven j.Morrison et al.FMRI investigation of cross-cultural music comprehension.Neuroimage,2003(20):378-384
29 Arikan M K,Devrim M,Oran O,lnan S,Elhih M,Demiralp T.Music effects on event-related potentials of humans on the basis of cultural environment.Neuroscience Letters,1999,268:21-24
30 Genc B O,Genc E,Tastekin G,Iihan N.Musicogenic epilepsy with ictai single photon emission computed to mography(spect):could these cases contribute to our knowledge of music processing.European Journal of Neurolinguistics,2001,8:191-194
31 Steven J,Morrison et al.FMRI investigation of cross-cultural music comprehension.Neuroimage,2003(20):378-384
32 Koelsch S,Gunter E,Tervanicimi M,Sammler D,Friederici A D.Differentiating ERAN and MMN:an ERP study.NeuroReport 12(7)(2001):1385-
33.Woldorff M G.Selective listening at fast stimulus rates:so much to hear,so little time,Perspect.Event-Relat.Potentials Res.(EEG Suppl.44),1995:32-51
34 Woldorff M G,.Hackley S A,.Hillyard S A.The effects of channel selective attention on the mismatch negativity wave elicited by deviant tones,Psychophysiology1991,28;30-42.
35.Woldorff M G,.Hillyard S A,Gallen C C,Hampson S R,Bloom F E,Magnetoencephalographic recordings demonstrate attentional modulation of mismatch-related neural activity in human auditory cortex.Psychophysiology,1998,35:283-292.
36 Janata P.ERP measures assay the degree of expectancy violation of harmonic contexts in music.Cogn.Neurosci. 1995,7:153-164.
37 Koelsch S,Walter A S.Towards a neural basis of music perception.Trends in Cognitive Sciences,2005,9(12):578-584
38 Ledoux J E.Emotion circuits in the brain.Annual Review of Neuroscience,2000,23:155-184
39 Ongur D,Price J L.The organization of networks within the orbital and medial prefrontal cortex of rats,monkeys and humans.Cerebral Cortex,2000,10(3):206-219
40 Naatanen R.et al.'Primitive intelligence' in the auditory cortex.Trends in Neuroscience,2001,24(4):283-288
41 Koelsch S.Superior attentive and pre-attentive auditory processing in musicians.Neuroreport,1999,10(6):1309-1313
42 Fujioka T.et al.Musical training enhances automatic encoding of melodic contour and interval structure.Journal of Cognitive Neuroscience,2004,16(6):1010-1021
43 Tervaniemi M.et al.Superior formation of cortical memory traces for melodic patterns in musicians.Learning &.Memory,2001,8(5):295-300
44 van Zuijen,Titia L.et al.Grouping of sequential sounds:An event-related potential study comparing musicians and nonmusicians.Journal of Cognitive Neuroscience,2004,16(2):331-338
45 王净,杨玉芳.听觉场景分析及其评价.心理学动态,1998,4(1):1-5
46 Peretz I.,Zatorre R J.Brain organization for music processing.Annual Review of Psychology,2005,56:89-114
47 Pietro D M.et al.Receptive amusia:Temporal auditory processing deficit in a professional musician following a left temporo-parietal lesion.Neuropsychologia,2004,42(7):868-877
48 Griffiths T D.et al.A common neural substrate for the analysis of pitch and duration pattern in segmented sound.Neuroreport,1999,10(18):3825-3830
49 Patterson R D.et al.The processing of temporal pitch and melody information in auditory cortex.Neuron,2002,36(4):767-776
50 Zatorre R J.et al.Neural mechanisms underlying melodic perception and memory for pitch.Journal of Neuroscience,1994,14(4):1908-1919
51 Griffiths T D,Warren J D.The planum temporale as a computational hub.Trends in Neurosciences,2002,25(7):348-353
52 Covington H,Crosby C.Music therapy as a nursing intervention.Journal of Psychosocial Nursing and Mental HealthServices,1997,35(3):3467
53 Underwood,Underwood,Implicit cognition,Oxford University Press,Oxford,1996.
54 Tillmann.B,Peretz,.I,Bigand.E.Harmonic priming in an amusic patient.Paper presented at the 5th European Society for the Cognitive Sciences of Music,2003,9:8-13.
55 Koelsch.S et al.Processing tonal modulations:an ERP study.Journal of Cognitive Neuroscience,2003,15(8):1149-1159
56 赵仑.ERP实验教程[M].天津社会科学出版社,2004:79-81
57 Keolsch S et al.Differentiating ERAN and MMN:An ERP study.Neuroreport,2001,5(14):1385-1389
58 Hackley S A.An evaluation of the automaticity of sensory processing using event-related potentials and brain-stem reflexes.Psychophysioiogy,1993(30):415-428.
59 Woldorff M G.Modulation of early auditory processing during selective listening to rapidly presented tones.Neurophysiol,1991(28):170-191.
60 McGlone J.Behav Brain Sci.1980,3:215-263
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62 Kramer JH,Dells DC,Kaplan E etal.Neuropsychology.1997,11:577-584
1. Arikan M K, Devrim M, Oran O, Inan S, Elhih M, Demiralp T. Music effects on event-related potentials of humans on the basis of cultural environment. Neuroscience Letters, 1999,268: 21-24
2. Besson M,Faita F.An event-related potential(ERP) study of musical expectancy:comparison of musicians with nonmusicians.Journal of Experimental Psychology:Human Perception and Performance, 1995,21 (6): 1278-1296
3. Burns, E.M. Burns.Intervals, scales, and tuning. The psychology of music, Academic Press,New York, 1982:215-264.
4. Covington H,Crosby C. Music therapy as a nursing intervention. Journal of Psychosocial Nursing and Mental Health Services,1997,35(3):3467.
5. Douglas Eck, Scott S K. New research in rhythm perception and production.Music Perception,2005,22(3):3365-369.
6. Elbert et al. Increased cortical representation of the fingers of the left hand in string players. Science,1995,5234:305-307.
7. Frances R,Frances. La perception de la musique (2nd ed.).Librairie Philosophique J. Vrin,Paris, 1958.
8. Fujioka T.et al.Musical training enhances automatic encoding of melodic contour and interval structure. Journal of Cognitive Neuroscience, 2004,16(6): 1010-1021.
9. Gaser,Schlaug,Schlaug GBrain structures differ between musicians and non-musicians.The Journal of Neuroscience ,2003,23 (27):9240-9245.
10. Genc B O, Genc E, Tastekin G, Iihan N. Musicogenic epilepsy with ictal single photon emission computed to mography (spect): could these cases contribute to our knowledge of music processing. European Journal of Neurolinguistics,2001,8:191-194.
11. Griffiths T D,Warren J D.The planum temporale as a computational hub. Trends in Neurosciences, 2002, 25(7):348-353
12. Griffiths T D. et al. A common neural substrate for the analysis of pitch and duration pattern in segmented sound. Neuroreport, 1999, 10(18):3825-3830
13 Janata P. ERP measures assay the degree of expectancy violation of harmonic contexts in music, J. Cogn. Neurosci,1995,7: 153- 164.
14. Johnson k,Grazino.August knoblauch and amusia:a nineteenth-century cognitive model of music.Brain and Cognition.2003,1(51):102-114.
15. Jusczyk P W. How infants begin to extract words from speech.Trends Cognitive Science, 1999,3 (9): 323-328.
16. Kaas J H, Hackett T A, Tramo J M. Auditory processing in primate cerebral cortex. Current Opinion in Neurobiology,1999, 9(2):164—170.
17. Koelsch S.Neural substrates of processing syntax and semantics in music.Current Opinion in Neurobiology, 2005, 15(2):207-212.
18. Koelsch S,Walter A S. Towards a neural basis of music perception. Trends in Cognitive Sciences, 2005,9(12):578-584
19. Koelsch S, Gunter T C, Friederici A D, Schroger E. Brain indices of music processing "non-musicians" are musical. Journal of Cognitive Neuroscience, 2000, 12:520-541
20. Koelsch S. et al. Music, language, and meaning: Brain signatures of semantic processing. Nature Neuroscience, 2004, 7:302-307
21. Koelsch S.et al. Adults and children processing music: An fMRI study. NeuroImage 2005,25:1068-1076.
22. Koelsch.S.et al. Electric brain responses reveal gender differences in music processing.Neuroreport,2003,2(6):709-713
23. Koelsch.S.etal.Differentiating ERAN and MMN:an ERP study.NeuroReport, 2001 12(7):1385-1387
24. Koelsch S. Superior attentive and pre-attentive auditory processing in musicians. Neuroreport, 1999, 10(6): 1309-1313
25. Koelsch.S et al.Processing tonal modulations:an ERP study.Journal of Cognitive Neuroscience ,2003,15(8): 1149-1159
26. Kramer J H,Dells D C,Kaplan E .etal.Neuropsychology 1997,11:577-584.
27. Krumhansl, Shepard, Krumhansl C L, Shepard R N.Quantification of the hierarchy of tonal functions within a diatonic context. Journal of Experimental Psychology: Human Perception and Performance,1979, 5,(4): 579-594.
28. Kutas M, Federmeier K D. Electrophysiology reveals semantic memory use in language comprehension. Trends in Cognitive Science, 2000, 4(12):463-470
29. Lerdahl, F, Jackendoff, R.. A generative theory of tonal music.Cambridge, MA: MIT Press. 1983: P3
30. Ledoux J E. Emotion circuits in the brain. Annual Review of Neuroscience, 2000, 23: 155-184
31. McGlone J.Behav Brain Sci .1980,3:215-263.
32. Naatanen R.et al. 'Primitive intelligence' in the auditory cortex. Trends in Neuroscience, 2001, 24(4): 283-288
33. Ongur D., Price J L. The organization of networks within the orbital and medial prefrontal cortex of rats, monkeys and humans. Cerebral Cortex, 2000, 10(3):206—219
34. Pantev,Lutkenhoner,Pantev,Lutkenhoner B.Magnetoencephalographic studies of functional organization and plasticity of the human auditory cortex.. Journal of Clinical Neurophysiology ,2000,17 (2):130-142.
35. Pantev et al.Music and learning-induced cortical plasticity.Annals of the New York Academy of Sciences, 2003:438-450.
36. Patel et al.Processing Syntactic Relations in Language and Music: An Event-Related Potential Study. Journal of Cognitive Neuroscience, 1998,10(6):717-733
37. Patterson R D. et al. The processing of temporal pitch and melody information in auditory cortex. Neuron, 2002, 36(4):767-776
38. Peretz I.The nature of music from a biological perspective.Cognition , 2005,11 (4): 1 -32
39. Peretz I,Zatorre R J. Brain organization for music processing. Annual Review of Psychology, 2005,56:89-114.
40. Pietro D M. et al. Receptive amusia: Temporal auditory processing deficit in a professional musician following a left temporo-parietal lesion.Neuropsychologia, 2004,42(7):868-877.
41. Sachiko Chikahisa, Hiroyoshi Sei, Masaki Morishima, Atsuko Sano, Kazuyoshi Kitaoka, Yutaka Nakaya and Yusuke Morita .Exposure to music in the perinatal period enhances learning performance and alters BDNF/TrkB signaling in mice as adults. Behavioural Brain Research,2006,2(169):312-319
42. Steven J,Morrison et al .FMRI investigation of cross-cultural music comprehension.Neuroimage,2003(20):378-384
43. Tervaniemi M.et al. Superior formation of cortical memory traces for melodic patterns in musicians. Learning &. Memory, 2001, 8(5):295-300
44. Tillmann B, Peretz I,Bigand E. Harmonic priming in an amusic patient. Paper presented at the 5th European Society for the Cognitive Sciences of Music, 2003,9:8-13.
45.Underwood.Implicit cognition.Oxford University Press,1996.
46.van Zuijen,Titia L.et al.Grouping of sequential sounds:An event-related potential study comparing musicians and nonmusicians.Journal of Cognitive Neuroscience,2004,16(2):331-338
47.Woidorff M G.Selective listening at fast stimulus rates:so much to hear,so little time,Perspect.Event-Relat.Potentials Res.(EEG Suppl.44),1995:32-51
48.Woldorff M G,Hackley S A,Hillyard S A.The effects of channel selective attention on the mismatch negativity wave elicited by deviant tones,Psychophysiology 1991,28:30-42.
49.WoldorffM G,Hillyard SA,Gallen C C,Hampson S R,Bloom F E.Magnetoencephalographic recordings demonstrate attentional modulation of mismatch-related neural activity in human auditory cortex,Psychophysiology 1998,35:283-292.
50.Zatorre R J.et al.Neural mechanisms underlying melodic perception and memory for pitch.Journal of Neuroscience,1994,14(4):1908-1919
1.崔宁.音乐教育的认知价值与大脑心理效应分析.杭州师范学院学报(社会科学版),2004,9(5):111-115
2.刘沛.神经音乐学与21世纪的智力竞争.武汉音乐学院学报,2001(1):24
3.刘沛.神经音乐学及其研究切入点的动议.星海音乐学院学报,2001,6(2):29-31
4.刘沛.世纪之交的美国音乐教育战略——《豪斯赖特宣言》:前瞻2020年音乐教育的观念与行动纲领.中国音乐学,2001(4):29-35
5.刘沛.音乐成就测量与评价的认知主义方向.音乐教育研究,2001(4):38-40
6.刘沛.脑科学:21世纪音乐教育理论与实践的新基石——围绕“莫扎特效应”的科学研究和展望》,《中国音乐学》,2000(3):56-58
7.王净,杨玉芳.听觉场景分析及其评价.心理学动态,1998,4(1):1-5
8.赵东梅,刘志雅.音乐心理学研究的历史与现状分析。星海音乐学院学报,2006,6(2):24-27
9.郑茂平.音乐知觉期待的研究述评.心理科学进展,2006,14(6):866-872
10.资利萍.认知心理学向艺术领域的拓展及对音乐教育的启示.中国音乐学,2005,2:133-136