The Neuroscience of Bach's Music

Eric Altschuler, MD, PhD is Associate Chief and Director of Clinical Research in the Department of Physical Medicine and Rehabilitation at Metropolitan Hospital and Associate Clinical Professor in the Department of Rehabilitation Medicine at New York Medical College. Dr. Altschuler is also an Associate Editor of the American Journal of Physical Medicine and Rehabilitation. Dr. Altschuler is board certified in Physical Medicine and Rehabilitation, Brain Injury Medicine, Neuromuscular Medicine and Electrodiagnostic medicine. In addition to clinical work in general PM&R and electro-diagnostics, Dr. Altschuler is a widely published and recognized expert in clinically applied and basic cognitive neuroscience. Dr. Altschuler was the first to report the use of mirror therapy for hemiparesis following stroke and for a combination amputation/orthopedic injury. Dr. Altschuler was the first to publish the use of animal assisted therapy for post-traumatic stress disorder (PTSD) now in wide use for patients across the world.

• Section 1: Prelude1. Introduction2. Background and Overview of Johann Sebastian Bach3. Basics of the Brain and PerceptionSection 2: Playing Bach and the Brain – Action4. 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 Experience6. Adding a Third Violin to Bach’s Brandenburg Concerto No. 6 – Challenges in Synchronization and Listener Experience7. More than Three – Perceptual, Action, and Cognitive Challenges for Performers and Listeners8. Virtuoso of Bach’s Composing and Performance ExpectationsSection 3: Listening to Bach – Perception of Musical Space and Landscape9. The Neuroscience of “Affekt” – Music, Emotions, and the Brain’s Limbic System10. “Affekt” Related to Tempos and Effects – Bach’s Composition and Emotional Playing11. The Algebra of Bach’s Transcriptions for Various Instruments and Cognitive EffectsSection 4: Bach and the Exploration of the Tonal System and Beyond – Cognition 12. Parallel Fifths and the Cognitive-Perceptual System13. Enharmonic Notes Across Instruments in Bach’s Compositions14. Modal Traces and the Cognitive-Perceptual System15. Bach’s 12-Tone Row, Cognition, and Musical Perception16. Present and Future Neuroimaging Studies of BachSection 5: Mathematical Bach 17. Topology in Bach I – The Brain’s Analysis of Bach’s Match to a “Möbius Strip” Structure18. Topology in Bach II – The Brain’s Ability to Hear Topologic Structures19. Unbroken and Broken Symmetry in Bach’s Compositions20. 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

"Altschuler’s pioneering study — illustrated with numerous musical examples — aims to show how Bach-centred neuroscience “can help us better appreciate perceptual and cognitive affects in Bach” and create better performances of the composer’s work. It also teaches us how music perception is not localized to one region of the brain but occurs throughout it, and varies from person to person." --Andrew Robinson, Nature