Jonathan Berger and Gabe Turow (eds.), Music, science, and the rhythmic brain: cultural and clinical implications

Routledge, New York/Oxford, 2011, 215pp., ISBN 978-0-415-89059-5, $150

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Notes

  1. 1.

    This review will only discuss the first of these clinical applications, as I feel it is the one with the most immediate relevance to philosophers; moreover, a lack of familiarity with the research programmes outlined in chapters 7–9 makes me hesitate to provide commentary on them.

  2. 2.

    Makeig and Will take an unorthodox and, it must be acknowledged, rather unwieldy approach to structuring their chapter. Makeig writes the first introductory section, with Will providing the rest. Will’s contribution is a self-contained paper with its own introduction; a somewhat fragmented reading experience results. This reviewer feels that the coherence of the chapter would have benefited from a more unified approach.

  3. 3.

    Tomaino gives some central references. The reader is also referred to the work of Jessica Grahn and colleagues on the connection between musical rhythm and motor engagement (e.g., Grahn and Rowe 2009; Grahn and Brett 2007).

  4. 4.

    For example, see Orlandi (2014) for a recent and engaging review of the debate between the relational and representational view of perception, as well as an extended argument in favour of the idea that vision does not need to be thought of as a ‘constructive’ system that perform inferences about what is in the world. See also Judge (2015) for a critique of the notion of perceptual inference, with a particular focus on the operations of the auditory system.

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Judge, J.A. Jonathan Berger and Gabe Turow (eds.), Music, science, and the rhythmic brain: cultural and clinical implications. Phenom Cogn Sci 15, 305–313 (2016). https://doi.org/10.1007/s11097-015-9424-0

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