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Foundations in Social Neuroscience
A comprehensive survey of the growing field of social neuroscience.
The Neurosciences and Music III
"This volume will be of particular interest to medical professionals, neuroscientists, neurologists, psychologists, educators, music therapists, musicologists, sound engineers, computer scientists. Manuscripts address how the tools of cognitive neuroscience have provided new insights into where and how rhythm is coded in the brain; production and perception abilities and the relationship between the two; the use of music as a tool for the investigation of human cognition and its underlying brain mechanisms; recent research investigating various aspects of musical memory and learning, and implications for medical rehabilitation for patients with memory disorders; advances in the fields of developmental auditory neuroscience, empirical music aesthetics, and music emotions in normal and disordered development such as autistic spectrum disorders; mutual interactions between music and language in children and adults with cochlear implants; and human communication of information, ideas, and emotional states, and the shared networks of speech and motor processing with musical processing"--NYAS Web site
How Language Speaks to Music
Prosody as a system of suprasegmental linguistic information such as rhythm and intonation is a prime candidate for looking at the relation between language and music in a principled way. This claim is based on several aspects: First, prosody is concerned with acoustic correlates of language and music that are directly comparable with each other by their physical properties such as duration and pitch. Second, prosodic accounts suggest a hierarchical organization of prosodic units that not only resembles a syntactic hierarchy, but is viewed as (part of) an interface to syntax. Third, prosody provides a very promising ground for evolutionary accounts of language and music. Fourth, bilateral tr...
The Voices Within
We all hear voices. Ordinary thinking is often a kind of conversation, filling our heads with speech: the voices of reason, of memory, of self-encouragement and rebuke, the inner dialogue that helps us with tough decisions or complicated problems. For others - voice-hearers, trauma-sufferers and prophets - the voices seem to come from outside: friendly voices, malicious ones, the voice of God or the Devil, the muses of art and literature. In The Voices Within, Royal Society Prize shortlisted psychologist Charles Fernyhough draws on extensive original research and a wealth of cultural touchpoints to reveal the workings of our inner voices, and how those voices link to creativity and developme...
Face Perception
Human faces are unique biological structures that convey a complex variety of important social messages. Even strangers can tell things from our faces – our feelings, our locus of attention, something of what we are saying, our age, sex and ethnic group, whether they find us attractive. In recent years there has been genuine progress in understanding how our brains derive all these different messages from faces and what can happen when one or other of the structures involved is damaged. Face Perception provides an up-to-date, integrative summary by two authors who have helped develop and shape the field over the past 30 years. It encompasses topics as diverse as the visual information our ...
Expression of emotion in music and vocal communication
Two of the most important social skills in humans are the ability to determine the moods of those around us, and to use this to guide our behavior. To accomplish this, we make use of numerous cues. Among the most important are vocal cues from both speech and non-speech sounds. Music is also a reliable method for communicating emotion. It is often present in social situations and can serve to unify a group's mood for ceremonial purposes (funerals, weddings) or general social interactions. Scientists and philosophers have speculated on the origins of music and language, and the possible common bases of emotional expression through music, speech and other vocalizations. They have found increasi...
Simultaneous Structure in Phonology
This book surveys the range of well-known non-sequential phonological phenomena that are problematic for the traditional one-dimensional idealization of language. It makes a valuable contribution to phonology and phonetics, focusing on the role of these simultaneous features in the relation between phonological representations and the speech signal
Neural processing of emotion in multimodal settings
Our everyday life is characterized by a multitude of emotionally relevant cues that we perceive and communicate via various sensory channels. This does not only encompass the obvious cases of auditory and visual modalities, but also olfactory, gustatory, and even tactile stimuli. Any kind of emotional situation in a natural setting is usually a multimodal experience: A friend welcomes us with warm words, a smile, and a happy voice; the sight of our favourite food is accompanied by a seductive smell and a delicious taste; the thrill of watching an exciting movie scene is intensified by a gripping soundtrack. In these situations, the signals from various senses do not stand on their own; they ...
A model of sonority based on pitch intelligibility
Sonority is a central notion in phonetics and phonology and it is essential for generalizations related to syllabic organization. However, to date there is no clear consensus on the phonetic basis of sonority, neither in perception nor in production. The widely used Sonority Sequencing Principle (SSP) represents the speech signal as a sequence of discrete units, where phonological processes are modeled as symbol manipulating rules that lack a temporal dimension and are devoid of inherent links to perceptual, motoric or cognitive processes. The current work aims to change this by outlining a novel approach for the extraction of continuous entities from acoustic space in order to model dynamic...
To Gender or Not to Gender
Can Othello be a woman? Can Ophelia be a man? Why not? Intended for Shakespeare lovers, scholars, and Shakespearean theater professionals, this study explores ways in which gender is being reinterpreted by British and North American productions since the turn of the millennium. First discussing gender theory, including modern, individualistic identity, this book leads to deep shifts in thinking about sex, gender identity and expression, and sexuality seen in 21st century Shakespearean production casting, directing, and acting decisions. The inclusion of selected productions and characters such as Othello, Richard III, Ophelia, and Olivia encourage readers to make use of "category creation" to reinterpret these characters by rethinking gender. Covered productions are divided into three sections including those that "cross-sex" cast, those that "resex" a character, and those that leave open questions of gender considering how terms like "gender-blending," "gender-bending," or "gender-blind" are meaningful in 21st century Shakespeare.
