Msica y Cerebro

3 ed
Msica y Cerebro: ndice
1. Exposicin de Razones
2. Definicin
3. Percepcin de la Msica
4. Produccin musical
5. Alteraciones
6. Implante Coclear
7. Terapia
Torelax Tolnflusnoa For Todance For Tostay
mood emotional professlonal awakJ ~
satisfaction purposes
'lobe
happy
Q
;.J .Q
.~. 60
~
o NH subiects
BCI subjeicts
D UCI subjects
80
Whydo you listento music?
100
Fig., 1,. The x-axis describes the various
reasons whyaperson wouldlisten to rnu-
. " the"~I ,'., the ,... t ..... , ,f" , ..~
SlC;, .... ey=ax.l,sIS ..epercell. age 0 yes an=
swersfor theNH" BCI andUCI subjects,
Comparis'o,n ,of Mlusic: P 'er,cepUo,n in BII,at,e raland Unilat,er,al C.o" chle,arIlmp,l,ant,Use rs and N'ormal ..He,arin'Q Subje c,ts. K.
Vee kmans a, b l. Re;ssel cJ. MlueUe rd MI. Vischer f ,S .J .Br'oc:kme ier. Audi,ol,ogy '& Neur,ot" o,l,ogy, 2'0'09:;14::315,... 32'6,.June 2'0,0,8
Por qu escuchamos msica?
Veekmas, K., Ressel, L., Mueller, J., Vischer, M., & Brockmeier, S. (2009). Comparison of Music Perception in
Bilateral and Unilateral Cochlear Implant Users and Normal-Hearing Subjects. Audio Neurotol , 14, 315-326.
Exposicion de Razones
Estudio de redes neurales implicada
Organizacin de la corteza auditiva

La percepcin musical es una operacin
compleja a nivel perceptivo y cognitivo
Funciones superiores
Modelo de neuroplasticidad
Ifs on Obsession Not QHobby
Qu es la Msica?
Qu es la Msica?
del griego: []
mousik [tchn]
"el arte de las musas


Objetivo

Social
Organizacin

Agradable
Sheet Arranged By wo.tum
Let It Be
Richard Claydennan
Forma delasondasdedossonidosconel
mismotonoperodistintotimbre
DO RIO 1"11FA ~lIj LA S1 DO
Anlisis de la Msica
Cualidad del sonido
Permite identificar el
emisor (piano, guitarra,
flauta, voz)
Tono
Ritmo
Timbre
PODCA
A
Middle
Ear Inner Ear
r. 1
Outer Ear
Percepcin de la Msica
RadioLab
-Season 2 Episode 2
Sound as Touch
G"L,2l
l c.a.se:22
1ca.se,23
-t
-+
1easelS
'1case, dllJ lfilrngrecovery19
N~S~:20
C",N~and 'G.,L I O
11 ..I R "u
1H l .,V r o 12
I H I J ~1.3
l c.ase1.4
IK
'.. I i') 1.5
'-'[I iDI 1
Percepcin de la Msica
Modularidad
Modularity of music processing
Isabelle Peretz & Max Coltheart
Nature
A
m
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s
i
a

A
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u
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A
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A
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V
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Percepcin de la Msica
Modularidad
Input Acstico
Organizacin del Tono Organizacin Temporal
Canto Tamborileo Habla
Anlisis
Acstico
Anlisis de la
Expresin
Emocional
Lxico
Fonolgico
Memoria
Asociativa
Planificacin de
la Elaboracin
Vocal
Lxico
Musical
Anlisis del
intervalo
Anlisis del
Contorno
Conversin
Acstico-
Fonolgica
Codificacin
del Tono
Anlisis del
Ritmo
Anlisis del
Comps
Hungarian Dance o. lOin E Major
Schubert
12 German Dances/5 Ecossaises
D. ~20/J29
Gerrm.n Danw
e I:~~:' :':
w ' 2 i W : ! ; ! ! P f (iUJ
rJ I J -:i I ,rT11,..,
: t ~ - I .J.J 1 i J J 1 t 4 ~ I j ;.;.1 / ) ' ~ I.IP ~ ~ I~...~I" I
I I
a=::!t~'i!f:;!iIN r =
~'OVgG='d![rE I
..
- - - -
---=-~ -
I~'
I IdJ l1 HI . ULtJ J I I I~....I I.
Percepcin de la Msica
HiperMusia
RadioLab
-Shorts
A 4-Track Mind
Percepcin de la Msica
Percepcin Tonal
Giro de Heschl
Zatorre, R. J. (June de 2001). Neural Specializations for Tonal
Processing. Ann N Y Acad Sci , 193-210.
N
o
!;~ r;~~1 Pit'chDifference
Direction of PitchChange
150
Group
I::
o
~
.s N 100
EI
'C _..
~- c
~_ g
~~
c s....
C])
B - 50
C])
s....
u,
Percepcin de la Msica
Percepcin Tonal
Media de frecuencia de umbral
de discriminacin de tonos, en
pacientes con excisin de lbulo
temporal derecho (RT) o
izquierdo (LT), extendindose al
rea del Giro de Hecshl (A) o
evitando sta zona (a).
La simple discriminacin no fue
diferente. Los umbrales de
cambio-en-direccin-del-tono
fueron ms altos que en los
dems grupos.
Zatorre, R. J. (June de 2001). Neural Specializations for Tonal
Processing. Ann N Y Acad Sci , 193-210.
F : i g u r e J . 5 2 ch : J t ct _ mise - S 1 _ ch : J [ ! , _ roise cont r.ast . T h esagit t al cut s.t 0. t h e l ef t 0f t beH gure
indi M et h e l orat ion oh h e ~D J onaI cut st nt h e righ t . Q, I n f : !r i . o r po r ti o n ot t h e l ef t rniddl ef ront a I
gy ru-s, neart h e r0] .l 8.1 b: order of area g a nd part l y T n t h e inf erT D rf ront al 5 uk u5 , h, c,A [ l 'and of
H ct iv .it y a-f ang area 8 0f t h e.righ t mJ ddj eJ ron! al gy rus, d o ' T h e j unct ion of t h e righ t post e.riof
middl e f ront a I gy rus and '$up.et ior P L f 2cent ra I sui: cus, : conespondin g t o rost ral area .6/ ( 3 udal 8 . ,
Percepcin de la Msica
Percepcin Tonal
<<Perfect Pitch>> Bermudez, P., & Zatorre, R. J. (2005). Conditional Associative
Memory for Musical Stimuli in Nonmusicians: Implications for
Absolute Pitch. Journal of Neuroscience , 25 (34), 7718-7723.
Percepcin de la Msica
Percepcin del Ritmo
En los msicos se da
una mayor activacin
del rea perisilviana
del Hemisferio
Izquierdo
En los no msicos se
da una mayor
activacin del
Hemisferio Derecho
Limb, C. J. (2006). Structural and Functional Neural Correlates of
Music Perception. THE ANATOMICAL RECORD PART A , 435-446.
Slow-IMajor S~ow-M~nor
o
feeil, m ngls
oP@n:eptions
Percepcin de la Msica
Emociny Msica
Percepcin de la Emocin de la msica
the distinction between feeling
and perceiving emotions when
listening to music is primarily one of
quantity (or intensity) rather than
one of quality, and that listeners
feelings are mediated by their
perceptions. This does not mean
that feelings induced by music will
always be in-line with perceptions
of the emotion conveyed by the
music
Hunter, P. G., Schellenberg, G., & Schimmack, U. (2010). Feelings and Perceptions of Happiness and Sadness Induced by
Music: Similarities, Differences, and Mixed Emotions. Psychology of Aestethics, Creativity, and the Arts , 4 (1), 47-56.
Efecto Mozart Emocin, Percepcin y Msica
Figure 3. Highest activated brain regions in healthy controls compared with participants with AS. ( a ) Favorite +standard> control stimuli within happy (red) and sad (blue). ( b )
Favorite> standard within happy (red) and sad (blue). PMC =premotor cortex. SMA =supplementary motor area. R =right.
Percepcin de la Msica
Emocin, Msica y Autismo
Cortexprefrontal
(ventral)
Cortezamotora
Produccin Musical
Produccin Musical
Prctica
Al aprender una nueva tarea motora, los msicos
experimentan un aumento del ~25% en la actividad del
corteza motora primaria.
Al escuchar msica (de piano) se activan reas, similares
a cuando se interpreta, en la corteza sensoriomotriz.

Haueisen, J. & Knosche, T. R. Involuntary motor activity in pianists evoked by music perception. J. Cogn.
Neurosci. 13, 786792 (2001).
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professionei jazz planists UlsiF ili'gl fllllll.ciIli(ma,1MRI. By ,@mpl'oyillll'gi iIlWO paradigms iIlh.a,itt ,~liffi@r,e~1 wid!@ly in musical ('ompl,@xilCy, W@
tmmd iIlhaill lmprovlsatlon (compared to produ,aion of over-learned musical s'@qu'@I1l.(i@s) was mnlsisit[r@l1lilllly characterlzed by a
diss,oci.a,ill,@di pattern of auiviilly in ths prefrontal mrl1fi@"X: i@Xi[,@F iliSIv,@ d~acillivailli,or11l of dorsolateral prefronta I and lateralorhital
n~'gli.ol1llswiillh tocal aaiv.ailli.o1llt of rhe m@dial prefrontal (fml1liill;a,1polar) cortex SLlld11 .it!. paU'@rr11t may reflect a cornolnason .of
psyd"ol,ogka,l pn:Hj@SS@S r,eqLllir,edl for sponte 1ll,@'OLIS improvis.a,illi,olll~ in whkh iF iliill,@ma,llymofivated, sfirruslus-indapendens
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of .ollI.gl.oinl'glpe rtormance. iChang:@s in prefronta I aCiIliviilly duringl lrnprovlsanon w,er,e accompanied by wid@spr,@ad adivailli.on
of naccortlcel sensorlrnotor areas (i11h.aill m@~li.aill,ethe .or;'Qial1llizaillinr11l and '@>:i.@(UiIl:i'OI1ll of rnuslcal performance) as w@1I as
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a (,o'gniilliv,@ ,wnill',@Xill that enables iIlh,@,@m@r'gl'@r1li'(j@ ,of sponransous creative .aaiviilly.
Abstra;ct
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Maii)ri.[lIfI:d, Urliited 5'~<I1:e5off Ameli'l'!:a, .2.Depar'~merl'~ of O~o]iamylfl:glol,ogy-HedJ d .[jutd lNIeck S!lJ lrgerryautd lP 'eabody COIil.5erv.at~my of M!J lsTc, J lo~~1iI.5 IHopIkTrr\5UUlJ livers'Ii'~,BillitTmme,
.Marryl<llfl:d,.Unlilted 5t[l'~e.5 m AmerTca
Neural Substrates of Spontaneous M,us.ilcalll P erformance:
An fM,IRIII Study of J az .. z, Improvisation
Produccin Musical
Improvisacin
Da:~in Table1. ams:h01J VIl in mean +standard deviation, with two-railsd pairedt-tast results,
dbi:1'0..13 7l~ QU rnal.pone.OD:m: 619..W01
tl.076
O,,~7
787 (T'84..7}
~4.~!jl (1.1:6)
755.,n (2Q.76)-
2J o1B [@J '2:p
149.11 (1.4.7)
~3.53 {~):,lf))
348'.6,7 '(] .03)
'41 i;~ tp':Q~)
Number of .nates [mean :(51.,0.)]
W!ei:gh1ed .eli $trib:utibll Q'f notes IJ :fl ~an'~s.cl\J J
J azz Stale,
Q.6;6
n.11
'Table 1,. MIDI' plano data obtained durinq control and lrnprovlserlon conditions. for Scale and J azz paradlqms,
Cmln7
J aulmprov(exempTs) J azzCtrl
."
J T J I . I ' I
Scalelmprov (example)
C"'1IjQt
I~t .! r
I~ J I
ScaleCtrl
improvised over-learned
Produccin Musical
Improvisacin
Figure 2. Axial slicerenderings of mean activations (rec:llyellowscale bar) and deactivations (blue/green scale bar) associated with
improvisation during Scaleand Jazz paradigms. Inboth paradigms, spontaneous improvisation was associated with widespread deactivation
in prefrontal cortex throughout DLPFC and LOFer combined with fucal activation in MPFC In addition, increases in sensorimotor activity and
decreases in limbic activity were seen in both paradigms. Activations were identified through inclusive masking of the contrast for [Improv-Control]
with the contrast fur [lmprov-RestJr and deactivations were identified through inclusive masking of the contrast for [Control-Improv] with the
contrast for [Rest-Improv] fur both Scale and Jazz paradigms. The scale bar shows t-score values and the sagittal section shows an anatomical
representation of slice locatio n; both scale bar and sagittal slice insets apply equally to Scale and Jazz data. Labels refer to axial slice z-plane in
Talairach space.
doi:10.1371/journal.pone.OOO 1679.g002
Figure 3. Three-dimensional surface projection of activations
and deactivations associated with improvisation during the
Jazz paradigm. Medial prefrontal cortex activatio n, dorsolateral
prefrontal cortex deactlvaticn, and sensorimotor activation can be
seen. The scale bar shows the range of t-scores: the axes demonstrate
anatomic orientation. Abbreviations: a, anterior; p, posterior; d, dorsal; v,
ventral; R, right; t, left.
doi:10.1371/journal.pone.0001679.g003
Produccin Musical
Improvisacin
Limb, C. J., & Braun, A. R. (2008). Neural Substrates of Spontaneous
Musical Performance: An fMRI Study of Jazz Improvisation. PLoS One , 3
(2), e1679.
Produccin Musical
Improvisacin
05:45
Alteraciones Positivas
Alucinaciones musicales

Epilepsia musicognica

Distona de msico

Alteraciones Positivas
Epilepsia Musicognica
Rol dominante del Lbulo
Temporal Derecho
SPECT Ictal
hiperperfusin L.T.
derecho
SPECT interictal
sin perfusin focal
SPECT postictal
hipoperfusin L.T.
derecho
Gen, B., Gen, C., Tastekin, G., & Iihan, N. (2001). Musicogenic epilepsy with ictal single photon
emission computed tomography (SPECT): could these cases contribute to our knowledge of music
processing? European Journal of Neurology , 8, 191-194.
R L
R L
R
L
Post
Post
Post
I.... .....t _ ... _ "-_.~. I _ : : -
----------------------
..;.. - .
----- ------------------
Alteraciones Positivas
Epilepsia Musicognica
Corte axial de ataque musicognico
Kaplan, P. W. (2003). Musicogenic epilepsy and epileptic music: a seizure's song. Epilepsy & Behavior , 4, 464-473.
, ., - - I' ~ ,
- -
.,~> It--=-l;,t; l : _ J
......___. ..~>- ,
Alteraciones Positivas
Distona de Msico
Ratio Hombres/Mujeres : 3/1

Instrumentos Tipo de Distona
Viento-Metales Distona Bocal
Teclados, instrumentos de punteo Unilateral - Mano Derecha
Instrumentos de Arco Unilateral Mano Izquierda
Viento-Madera (lengeta simple), teclados Bilateral
S o c i , 6 ! l 1 1 1 cons-ora ints
(e .g , . da 5.s jc a l i 'J I i l i J J s i c s.ja~zIpo p)
Wo rki ()a d 'o f re s pe c ti ve bo dy P '8l rt
Co mpl e i xi ty o f m, r)ve me nt::;
c o n s ti ta ']nts
{~, 9. ! ~ V.~',! l S 'ht n~l "! dI i f! \! i e ;! i ni ! i b.;
'da s s .~ i 1 I l i jS l Ci i :S. ,u./ I )r)P J '
S pa ti ~1 s e ns e rtmo to r
COl i i l ~mrn i l nb
(e l g. ti J ! i hS l :i l 1 ngs , Vi S. ow 5'tfi ngi i )
/
.
1
MIa ni i 'fe s ta rti on
, 0, ' Mus i d'a n"'s ;
Dy;s ;to ni a
Extri i i ns l c bi 'gg'e rl ng fa c to rs
P re di s po s i i ti o nl - S US l c e p, ti bi i l l l l i ty
a) male '9,ender
b) he l Fl e di ta ryc o mpo ne nt
Eni ~ri n5i c b"i gge ni l ng fa c to rs
I )e mc ~t l i n
wnl Mbi bJ tJ 1 'm s c ha n l s ms
l to c a I pa l ~l ti l l j' I nl t'e ns i 'fi 'e di
:~o mi l t'(l '5'e .! i ! I OOrvi nput
(i bt~I , I m, ;i I , f1 I i ).'l I ! W e \l 'l t~pm~f1 I t:..
O''f.'~I i U~C')
P 'e rf~c t~(Hi i 5m
.An i <i ue ty.
~.
I F
Alteraciones Positivas
Distona de Msico - Etiologa
Alteraciones Positivas
Distona de Msico
Cambios en el cerebro en la D.M.
-Alteracin en la representacin de la mano
desorganizacin
Garraux, G., Bauer, A., Hanakawa, T., Wu, T., Kansaku, K., & Hallett, M. (2004). Changes in Brain Anatomy in Focal Hand
Dystonia. Ann Neurol , 55, 736-739.
Distona Focal La enfermedad del Msico
Left Righ
J f _ , -J I j ,_ ' J It
- - -
- - I
" > . _ - .J t> /It 1,;r 1 . 1
. __ I .~,....,..~.. ~~-
Alteraciones Positivas
Distona de Msico
Alteraciones Positivas
Distona de Msico
Tratamiento:
Farmacolgico: Trihexyphenidyl
Anti-colinrgico

Inyeccin: Toxina Botulinica-A

Programas de Re-entrenamiento

Ergonoma del instrumento
Jabusch, H.-C., & Altenmller, E. (2006). Focal dystonia in musicians: From phenomenology to therapy. Advances in
Cognitive Psychology , 2 (2-3), 207-220.
Patients' rating of treatment results. Black bars: deterioration of dystonic symptoms. Grey bars: no change of dystonic symp-
toms. White bars: alleviation of dystonic symptoms. Hatched bars; no answer.
Trihexyphenidyl (Trhx): results are given separately for all patients who received Trhx vs. for those who received Tmxfor
more than two mon ths.
Botulinum toxin (BT): results are given separately for all patients who received BT vs. for those who received more than one
injection (from Jebusch et al./"2005).
non-specific
exercises
pedagogical
re raining
BT > injection erqonornic
c hanges
Trhx >2 months srsu Trhx all
5
o
SO
45
40
35
30
25
20
15
Alteraciones Positivas
Distona de Msico
Jabusch, H.-C., & Altenmller, E. (2006). Focal dystonia in musicians: From phenomenology to therapy.
Advances in Cognitive Psychology , 2 (2-3), 207-220.
Alteraciones Negativas
Amusia
Amusia Congnita & Amusia Adquirida
Amusia al Tono
Amusia al Ritmo
Amusia Oral-Expresiva
Amusia Instrumental / Apraxia
Agrafia Musical
o Amusia Coclear?
Simultagnosia
Sordera / Implantes Cocleares


Alteraciones Negativas
Amusia
Trastorno en la percepcin de la msica
http://www.brams.umontreal.ca/amusia-
general/

The Montreal Battery of Evaluation
of Amusia
IGeywords;
fjong,enU,21[ amUSLtI
Short-term memory
P'itch
Timbre
Wo["ds
(jontour
AudItoryscene ,tlntl.lys is
ConJ g,eillitaJ ~ amusia refers W a ~~fe~onJ g d,rnsorderof musk (li['O[,essrnng ,and, is ~rnn~edto pirnl[h-p,m,[,e'ssrnn,g d,ef-
rndts. lfh~ present StILUJ l.y rnnv,e'strn,gat,~d, mng,~nrnta~amusics' short-term memory f'Ortones, musical 'trnmbr,s
,and, words . Sequences of five events (tones, timbres or words) w~r,~presented mnPiarnrsand p'arlkrnplan'ts
had to mndkaJ t,~whether lh~ sequences wer,~lh,~same or drnfr~r'~ntThe perfermsnce of o[[InJ g,~nmta~ amu-
sics '[Onfi[ffio[\d,a memory d!i1=.fidlfor tone sequences, but showi1=.dnormal pertcnnance for word
sequences, For tmmbr,~sequences, amusics' m~mory p'~rf'Orman[,~was mmp',arnr,ed mncomparison to matched
comrols, O'\J ,~ra~~l~mbf~ pi~dbrman[,~ was found W be mrr,~bt'i1=.dWIDthm,~~odk contour processing (as
assessed by the Montr,~a~B,aU@fYof IEv,a~uationof Amusia). The p'r,~s'~ntfindings show that amusks' d~f-
kmts'~xt~nd to rnl:on-v,erba~sound maJ t'~r~,a~ other than p'rnt,[h, mnthis ,[aSl~' lmmbr'~',whrn~'~not ,an:~,('tmnJ g rnern-
ory f'Or '\J ,~rba~m.at~rrn,a~.This ~s mn ~mni1=. WIDthprevious suggestions about dh.'~dom,amn-sp'~dfi,dty .of
mn,g'~nrnt.a~,amlLlsrn,a.
Arddle ,hist,~'rY ':
A[)[\epitied "] August ,J IJ OH
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Congenital amusia: A short-term memory deficit for non-verbal,
but not verbal sounds
Alteraciones Negativas
Amusia
Amusia: Problema de memoria?



Alteraciones Negativas
Maurice Ravel
Demecia o Afasia?
IDEASWORTHSPREADING
Implante Coclear

Msica como Terapia
Cncer: Reduce el malestar, las nuseas y el
tiempo que recibe quimioterapia.
La msica reduce la ansiedad y respuestas de
estrs.
Redujo el estrs preoperatorio y los das de
ingreso despus de una intervencin.
Sujetos con depresin mejoran sus puntuaciones
en escalas de depresin y se reduce su
sintomatologa.
En sujetos diagnosticados con cncer terminal,
reportan una mejor calidad de vida.

Qu es la musicoterapia?
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Msica como terapia
Estrs en presencia de
Msica
Tarea: Preparar una
presentacin
Knight, W. E., & Rickard, N. S. (2001). Relaxin Music Prevents
Stress-Induced Increases in Subjetctive Anxiety, Systolic Blood
Preasure, and Heart Rate un Healthy Males and Females.
Journal of Music Therapy , XXXVIII (4), 254-272.
Musicoterapia ?
Msica como Terapia
NeuroPlasticidad
Cambios estructurales en
los cerebros de msicos
corteza motora primaria
plano temporal
parte anterior del C.C.

Msica como Terapia
Demencia
Reduce:
Agitacin
Agresin
Apata
Ansiedad

Mejora:
Comunicacin
Expresin
emocional
Actividad
Fischer-Terworth, C., & Probst, P. (2011). Evaluation of a TEACCH- and Music Therapy-Based
Psychological Intervention in Mild to Moderate Dementia. GeroPsyc , 24 (2), 93-101.
Conclusiones
La msica es un elemento importante, no slo
socialmente, sino tambin neurolgicamente.

Forma una forma de estimulacin compleja.

Puede ser utilizada como apoyo o terapia.

En estudios, no debemos olvidar, que la
msica tambin tiene un contenido social.

Bibliografa
Revisiones
Anatoma de la Msica:
Andrade, P. E., & Bhattacharya, J. (2003). Brain tuned to music. Journal or the Royal
Society of Medicine , 96, 284-287.
Limb, C. J. (2006). Structural and Functional Neural Correlates of Music Perception.
THE ANATOMICAL RECORD PART A , 435-446.

Investigacin en general:
Soria-Urios, G., Duque, P., & Garca-Moreno, J. M. (2011). Msica y cerebro:
fundamentos neurocientficos y trastornos musicales. Rev Neurol , 52 (1), 45-55.
Soria-Urios, G., Duque, P., & Graca-Moreno, J. M. (2011). Msica y cerebro (II):
evidencias cerebrales del entrenamiento musical. Rev Neurol , 53 (12), 739-746.

Bibliografa
Bermudez, P., & Zatorre, R. J. (2005). Conditional Associative Memory for Musical Stimuli in
Nonmusicians: Implications for Absolute Pitch. Journal of Neuroscience , 25 (34), 7718-7723.
Ciara, A., Venuti, P., & de Falco, S. (2011). Functional and Dysfunctional Brain Circuits Underlying
Emotional Processing of Music in Autism Spectrum Disorders. Cerebral Cortex , 21, 2838-2849.
Coutinho, E., & Cangelosi, A. (2011). Musical Emotions: Predicting Second-by-Second Subjective
Feelings of Emotion From Low-Level Psychoacoustic Features and Physiological Measurements.
Emotion , 11 (4), 921-937.
Fischer-Terworth, C., & Probst, P. (2011). Evaluation of a TEACCH- and Music Therapy-Based
Psychological Intervention in Mild to Moderate Dementia. GeroPsyc , 24 (2), 93-101.
Fritz, T., Jentschke, S., Gosselin, N., Sammler, D., Peretz, I., Turner, R., et al. (2009). Universal
Recognition of Three Basic Emotions in Music. Current Biology , 19, 573-576.
Garraux, G., Bauer, A., Hanakawa, T., Wu, T., Kansaku, K., & Hallett, M. (2004). Changes in Brain
Anatomy in Focal Hand Dystonia. Ann Neurol , 55, 736-739.
Gen, B., Gen, C., Tastekin, G., & Iihan, N. (2001). Musicogenic epilepsy with ictal single photon
emission computed tomography (SPECT): could these cases contribute to our knowledge of
music processing? European Journal of Neurology , 8, 191-194.
Hilliard, R. E. (2003). The Effects of Music Therapy on the Quality and Length of Life of People
Diagnosed with Terminal Cancer. Journal of Music Therapy , 11 (2), 113-137.

Bibliografa
Hunter, P. G., Schellenberg, G., & Schimmack, U. (2010). Feelings and Perceptions of Happiness
and Sadness Induced by Music: Similarities, Differences, and Mixed Emotions. Psychology of
Aestethics, Creativity, and the Arts , 4 (1), 47-56.
Jabusch, H.-C., & Altenmller, E. (2006). Focal dystonia in musicians: From phenomenology to
therapy. Advances in Cognitive Psychology , 2 (2-3), 207-220.
Kaplan, P. W. (2003). Musicogenic epilepsy and epileptic music: a seizure's song. Epilepsy &
Behavior , 4, 464-473.
Knight, W. E., & Rickard, N. S. (2001). Relaxin Music Prevents Stress-Induced Increases in
Subjetctive Anxiety, Systolic Blood Preasure, and Heart Rate un Healthy Males and Females.
Journal of Music Therapy , XXXVIII (4), 254-272.
Limb, C. J., & Braun, A. R. (2008). Neural Substrates of Spontaneous Musical Performance: An
fMRI Study of Jazz Improvisation. PLoS One , 3 (2), e1679.
Limb, C. J., Kemeney, 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 , 382-389.
Mnte, T. F., Altenmller, E., & Jncke, L. (202). The musicians brain as a model of
neuroplasticity. Nature Reviews , 3, 473-478.

Bibliografa
Pujol, J., Roset-Llobet, J., Rosins-Cubells, D., Deus, J., Naberhaus, B., Valls-Sol, J., et al. (2000).
Brain Cortical Activation during Guitar-Induced Hand Dystonia Studied by Functional MRI.
NeuroImage , 12, 257-267.
Punkanen, M., Eerola, T., & Erkkil, J. (2011). Biased emotional recognition in depression:
Perception of emotions in music by depressed patients. Journal of Affective Disorders , 130,
118-126.
Tillman, B., Katrin, S., & Foxton, J. M. (2009). Congenital amusia: A short-term memory deficit
for non-verbal, but not verbal sounds. Brain and Cognition , 71, 259-264.
Veekmas, K., Ressel, L., Mueller, J., Vischer, M., & Brockmeier, S. (2009). Comparison of Music
Perception in Bilateral and Unilateral Cochlear Implant Users and Normal-Hearing Subjects.
Audio Neurotol , 14, 315-326.
Yung, P. M., Kam, S. C., Lau, B. W., & Chan, T. M. (2003). The Effect of Music in Managing
Preoperative Stress for Chinese Surgical Patients in the Operating Room Holding Area: A
Controlled Trial. International Journal of Stress Management , 10 (1), 67-74.
Zatorre, R. J. (2001, June). Neural Specializations for Tonal Processing. Ann N Y Acad Sci , 193-
210.