The Neuroscience of Bach’s Music

Section 1: Prelude<br>1. Introduction<br>2. Background and Overview of Johann Sebastian Bach<br>3. Basics of the Brain and Perception<br><br>Section 2: Playing Bach and the Brain – Action<br>4. Playing Bach’s Suites for Solo Cello and Experiencing One’s Actions without Perception and Clocking Libet’s “Mind Time”<br>5. Neural Performance, Action Requirements, and Challenges of Playing Bach’s Concerto for Two Violins – A Study of Synchronization and Perceptual Experience<br>6. Adding a Third Violin to Bach’s Brandenburg Concerto No. 6 – Challenges in Synchronization and Listener Experience<br>7. More than Three – Perceptual, Action, and Cognitive Challenges for Performers and Listeners<br>8. Virtuoso of Bach’s Composing and Performance Expectations<br><br>Section 3: Listening to Bach – Perception of Musical Space and Landscape<br>9. The Neuroscience of “Affekt” – Music, Emotions, and the Brain’s Limbic System<br>10. “Affekt” Related to Tempos and Effects – Bach’s Composition and Emotional Playing<br>11. The Algebra of Bach’s Transcriptions for Various Instruments and Cognitive Effects<br><br>Section 4: Bach and the Exploration of the Tonal System and Beyond – Cognition <br>12. Parallel Fifths and the Cognitive-Perceptual System<br>13. Enharmonic Notes Across Instruments in Bach’s Compositions<br>14. Modal Traces and the Cognitive-Perceptual System<br>15. Bach’s 12-Tone Row, Cognition, and Musical Perception<br>16. Present and Future Neuroimaging Studies of Bach<br><br>Section 5: Mathematical Bach <br>17. Topology in Bach I – The Brain’s Analysis of Bach’s Match to a “Möbius Strip” Structure<br>18. Topology in Bach II – The Brain’s Ability to Hear Topologic Structures<br>19. Unbroken and Broken Symmetry in Bach’s Compositions<br>20. The Perceptual Effect of Escher’s “Tiling Time”<br><br>Section 7: Conclusion <br>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