Description
Book SynopsisTable of ContentsSection 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 “Möbius 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
