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| Preface | |
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| Introductory Chapters | |
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| Ear and Hearing | |
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| The ear | |
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| Auditory brainstem and thalamus | |
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| Place and time information | |
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| Beats, roughness, consonance and dissonance | |
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| Acoustical equivalency of timbre and phoneme | |
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| Auditory cortex | |
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| Music-theoretical Background | |
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| How major keys are related | |
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| The basic in-key functions in major | |
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| Chord inversions and Neapolitan sixth chords | |
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| Secondary dominants and double dominants | |
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| Perception of Pitch and Harmony | |
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| Context-dependent representation of pitch | |
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| The representation of key-relatedness | |
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| The developing and changing sense of key | |
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| The representation of chord-functions | |
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| Hierarchy of harmonic stability | |
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| Musical expectancies | |
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| Chord sequence paradigms | |
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| From Electric Brain Activity to ERPs and ERFs | |
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| Electro-encephalography (EEG) | |
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| The 10-20 system | |
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| Referencing | |
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| Obtaining event-related brain potentials (ERPs) | |
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| Magnetoencephalography (MEG) | |
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| Forward solution and inverse problem | |
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| Comparison between MEG and EEG | |
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| ERP Components | |
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| Auditory Pl, Nl, P2 | |
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| Frequency-following response (FFR) | |
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| Mismatch negativity | |
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| MMN in neonates | |
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| MMN and music | |
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| N2bandP300 | |
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| ERP-correlates of language processing | |
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| Semantic processes: N400 | |
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| Syntactic processes: (E)LAN and P600 | |
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| Prosodic processes: Closure Positive Shift | |
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| A Brief Historical Account of ERP Studies of Music Processing | |
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| The beginnings: Studies with melodic stimuli | |
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| Studies with chords | |
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| MMN studies | |
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| Processing of musical meaning | |
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| Processing of musical phrase boundaries | |
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| Music and action | |
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| Functional Neuroimaging Methods: fMRI and PET | |
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| Analysis of fMRI data | |
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| Sparse temporal sampling in fMRI | |
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| Interleaved silent steady state fMRI | |
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| 'Activation' vs. 'activity change' | |
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| Towards a New Theory of Music Psychology | |
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| Music Perception: A Generative Framework | |
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| Musical Syntax | |
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| What is musical syntax? | |
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| Cognitive processes | |
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| The early right anterior negativity (ERAN) | |
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| The problem of confounding acoustics and possible solutions | |
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| Effects of task-relevance | |
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| Polyphonic stimuli | |
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| Latency of the ERAN | |
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| Melodies | |
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| Lateralization of the ERAN | |
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| Neuroanatomical correlates | |
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| Processing of acoustic vs. music-syntactic irregularities | |
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| Interactions between music- and language-syntactic processing | |
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| The Syntactic Equivalence Hypothesis | |
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| Attention and automaticity | |
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| Effects of musical training | |
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| Development | |
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| Musical Semantics | |
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| What is musical semantics? | |
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| Extra-musical meaning | |
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| Iconic musical meaning | |
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| Indexical musical meaning | |
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| Excursion: Decoding of intentions during musinc listening | |
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| Symbolic musical meaning | |
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| Extra-musical meaning and the N400 | |
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| Intra-musical meaning | |
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| Excursion: Posterior temporal cortex and processing of meaning | |
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| Intra-musical meaning and the N5 | |
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| Musicogenic meaning | |
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| Physical | |
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| Emotional | |
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| Personal | |
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| Musical semantics | |
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| Neural correlates | |
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| Propositional semantics | |
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| Communication vs. expression | |
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| Meaning emerging from large-scale relations | |
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| Further theoretical accounts | |
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| Music and Action | |
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| Perception-action mediation | |
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| ERP correlates of music production | |
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| Emotion | |
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| What are 'musical emotions'? | |
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| Emotional responses to music - underlying mechanisms | |
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| From social contact to spirituality - The Seven Cs | |
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| Emotional responses to music - underlying principles | |
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| Musical expectancies and emotional responses | |
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| The tension-arch | |
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| Limbic and paralimbic correlates of music-evoked emotions | |
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| Major-minor and happy-sad music | |
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| Music-evoked dopaminergic neural activity | |
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| Music and the hippocampus | |
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| Parahippocampal gyrus | |
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| A network comprising hippocampus, parahippocampal gyrus, and temporal poles | |
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| Effects of music on insular and anterior cingulated cortex activity | |
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| Electrophysiological effects of music-evoked emotions | |
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| Time course of emotion | |
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| Salutary effects of music making | |
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| Concluding Remarks and Summary | |
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| Music and language | |
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| The music-language continuum | |
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| Summary of the theory | |
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| Summary of open questions | |
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| References | |
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| Index | |