The Neuroscience of Bach's Music: Perception, Action, and Cognition Effects on the Brain (Paperback)

Section 1: Prelude
1. Introduction
2. Background and Overview of Johann Sebastian Bach
3. Basics of the Brain and Perception

Section 2: Playing Bach and the Brain ? Action
4. Playing Bach’s Suites for Solo Cello and Experiencing One’s Actions without Perception and Clocking Libet’s “Mind Time?
5. Neural Performance, Action Requirements, and Challenges of Playing Bach’s Concerto for Two Violins ? A Study of Synchronization and Perceptual Experience
6. Adding a Third Violin to Bach’s Brandenburg Concerto No. 6 ? Challenges in Synchronization and Listener Experience
7. More than Three ? Perceptual, Action, and Cognitive Challenges for Performers and Listeners
8. Virtuoso of Bach’s Composing and Performance Expectations

Section 3: Listening to Bach ? Perception of Musical Space and Landscape
9. The Neuroscience of “Affekt? ? Music, Emotions, and the Brain’s Limbic System
10. “Affekt? Related to Tempos and Effects ? Bach’s Composition and Emotional Playing
11. The Algebra of Bach’s Transcriptions for Various Instruments and Cognitive Effects

Section 4: Bach and the Exploration of the Tonal System and Beyond ? Cognition
12. Parallel Fifths and the Cognitive-Perceptual System
13. Enharmonic Notes Across Instruments in Bach’s Compositions
14. Modal Traces and the Cognitive-Perceptual System
15. Bach’s 12-Tone Row, Cognition, and Musical Perception
16. Present and Future Neuroimaging Studies of Bach

Section 5: Mathematical Bach
17. Topology in Bach I ? The Brain’s Analysis of Bach’s Match to a “Mobius Strip? Structure
18. Topology in Bach II ? The Brain’s Ability to Hear Topologic Structures
19. Unbroken and Broken Symmetry in Bach’s Compositions
20. The Perceptual Effect of Escher’s “Tiling Time?

Section 7: Conclusion
21. Bach and the Brain’s Action, Perception, and Cognition ? Summary and Future Applications and Implications Appendix Using Perceptual and Cognitive Approaches to Finding and Using Bach’s Tempos