Music, neurology, and neuroscience : historical connections and perspectives PDF
Preview Music, neurology, and neuroscience : historical connections and perspectives
Serial Editor Vincent Walsh InstituteofCognitiveNeuroscience UniversityCollegeLondon 17QueenSquare LondonWC1N3ARUK Elsevier Radarweg29,POBox211,1000AEAmsterdam,Netherlands TheBoulevard,LangfordLane,Kidlington,OxfordOX51GB,UK 225WymanStreet,Waltham,MA02451,USA Firstedition2015 Copyright#2015ElsevierB.V.Allrightsreserved Nopartofthispublicationmaybereproducedortransmittedinanyformorbyanymeans, electronicormechanical,includingphotocopying,recording,oranyinformationstorageand retrievalsystem,withoutpermissioninwritingfromthepublisher.Detailsonhowtoseek permission,furtherinformationaboutthePublisher’spermissionspoliciesandour arrangementswithorganizationssuchastheCopyrightClearanceCenterandtheCopyright LicensingAgency,canbefoundatourwebsite:www.elsevier.com/permissions. Thisbookandtheindividualcontributionscontainedinitareprotectedundercopyrightbythe Publisher(otherthanasmaybenotedherein). 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ISBN:978-0-444-63399-6 ISSN:0079-6123 ForinformationonallElsevierpublications visitourwebsiteatstore.elsevier.com Contributors € Dirk-Matthias Altenmuller Epilepsy Center,Department of Neurosurgery, University Hospital Freiburg, Freiburgim Breisgau,Germany € Eckart Altenmuller University ofMusic, Drama and Media,Instituteof Music Physiology and Musicians’ Medicine, Hannover, Germany Hansj€org Ba¨zner Department ofNeurology, Klinikum Stuttgart, Stuttgart,Germany ChristianBlahak Department ofNeurology, Universita¨tsmedizin Mannheim, University of Heidelberg, Mannheim, Germany Julien Bogousslavsky GenolierSwissMedicalNetworkNeurocenter,cliniqueValmont,Glion/Montreux, Switzerland Franc¸ois Boller Department ofNeurology, George Washington University MedicalSchool, Washington, DC, USA Paul Eling DepartmentofPsychology,RadboudUniversityNijmegen,DondersInstitutefor Brain, Cognition and Behaviour, Nijmegen, The Netherlands Stanley Finger Department ofPsychology, WashingtonUniversity, St. Louis,MO, USA ChristianFoerch Department ofNeurology, Goethe-University, Frankfurtam Main, Germany Antonia Francesca Franchini Department ofClinical Science and CommunityHealth,University ofMilan, Milano, Italy Amy B. Graziano Division ofMusic History,Hall-Musco Conservatory ofMusic,Chapman University, Orange, CA,USA SamuelH. Greenblatt Department ofNeurosurgery, Alpert MedicalSchoolofBrown University, Providence, RI, USA Michael G.Hennerici Department ofNeurology, Universita¨tsmedizin Mannheim, University of Heidelberg, Mannheim, Germany Julene K. Johnson Institute for Health &Aging, University ofCalifornia, San Francisco, CA,USA v vi Contributors AxelKarenberg Institute for theHistory of Medicine and Medical Ethics, University of Cologne, Cologne, Germany JamesKennaway SchoolofHistory, University ofNewcastle, Newcastle,UK Howard I.Kushner Neuroscience&Behavioral Biology, and Department of Behavioral Sciences& HealthEducation, Rollins School ofPublicHealth,Emory University, Atlanta, GA, USA Richard J. Lederman Department ofNeurology, ClevelandClinicLerner College ofMedicine ofCase WesternReserve University, Cleveland, OH, USA MarjoriePerlman Lorch AppliedLinguisticsandCommunication,SchoolofSocialSciences,History,and Philosophy, Birkbeck,University ofLondon,London,UK Lorenzo Lorusso Department ofNeurology, “MellinoMellini” Hospital Trust, Brescia,Italy Alessandro Porro DepartmentofMedicalandSurgicalSpecialties,RadiologicalScienceandPublic Health, University ofBrescia,Brescia, Italy Henry Powell DepartmentofPathology,SchoolofMedicine,UniversityofCalifornia,SanDiego, CA, USA Michele AugustoRiva ResearchCentreonHistoryofBiomedicalThought,CentroStudisullaStoriadel Pensiero Biomedico(CESPEB), University of Milano Bicocca, Monza, Italy VittorioAlessandro Sironi ResearchCentreonHistoryofBiomedicalThought,CentroStudisullaStoriadel Pensiero Biomedico(CESPEB), University of Milano Bicocca, Monza, Italy Reinhard Steinberg Josef-Lutz-Weg2, Mu€nchen, Germany Harry Whitaker Department ofPsychology, Northern Michigan University, Marquette, MI,USA Yuri Zagvazdin CollegeofMedicalSciences,NovaSoutheasternUniversity,FortLauderdale,FL, USA William Zeitler San Bernardino,CA,USA Preface Thisisthefirstoftwovolumesdealingwithmusic,neurology,andthebasicneuro- sciences.Itfollowstwovolumesonthefinearts(oneexploringhistoricaldimensions andtheotherlookingatnewerdevelopments)andtwoonliterature(oneonhistorical andliteraryconnections,andoneonneurologicalandpsychiatricdisorders).These fourearliervolumesappearedinProgressinBrainResearchin2013(vols.203–206) andwereassembledbytwoofthethreecurrenteditors(StanleyFingerandFranc¸ois Boller) working with others specializing in these fields (Dahlia Zaidel and Julien Bogousslavsky on the fine arts, and Anne Stiles on literature). Neurologist– musicologist Eckart Altenm€uller is our specialist member of the editorial team for the two music tomes that complete thissix-volume series. Historyisthecommonthemepermeatingallofthecontributionstothisvolume, whereasitscompanionvolumeprovidessomehistorybutfocusesmoreonnewde- velopmentsandinsightsrelatedtomusic,thebrainandthenerves.Thisorganization parallelshowthetwofineartsbookswereassembled.Incontrast,allofthechapters inthe twoliterature volumes inone way oranother take us back intime. Although there have been quite a few newer books dealing with music and the nervoussystem,thesecompilationsarenotashistoricallyorientedasthepresentvol- ume,althoughmostdohaveintroductorychaptersorpartsofchaptersthatprovide somehistoricalmaterial,particularlywhenfamousmusiciansandtheirpossibleneu- rologicaldisordersarementioned.Moreover,bybeingdevotedsolelytomusicand thenervoussystem,thisvolumeanditscompanionpiecealsodifferfromthoseneu- rologyandneurosciencebooksthatdealwithpainting,literature,andmusicundera singlecover,andthereforearemoregeneralandlessfocused,aswellasfrombooks dealing with famous musicians andall ofmedicine. Thus, this volume has special and even unique features. Nevertheless, it goes withoutsayingthat,evenwiththisfocus,itisimpossibletocomeforthwithavolume thatdealswithmusicandallfacetsofthebasicandappliedneurosciences,especially whenalsoaddinginhistory.Theliteratureissimplytoovastandtheconnectionsare too numerous. The best that anyone or a team can do is to offer a sampling of the different ways in which music and these specialized scientific and medical fields can be broughttogether,withthe hope that such an endeavor will stimulate others to think about additional connections that would shed even more light on several disciplines. Withthesethoughtsinmind,wehavechosentoopenthisvolumewithtwochap- tersfromthehistoryoftheneurosciences.OnedealswithhowFranzJosephGalland the phrenologists who followed him early in the nineteenth century approached music—boldly trying to localize a “faculty” for this function in the front of the cerebrum based on human and lower animal skull features. The other examines how music, neurology, and psychology were coming together somewhat later in the nineteenth century. xv xvi Preface Thesecondsectionofthisvolumedealswithmusicandaphasia,butnotinfamous musicianswhosufferedstrokes.Thesechaptersarelargelyconcernedwithchildren livingduringthenineteenthcentury,whoattractedtheattentionofBritishneurolo- gistJohnHughlingsJacksonandothermedicalpractitionersbecausetheyhadvery limitedspeechyetwereabletosing.Historianshavelargelyoverlookedthesecases untilnow, and they make for fascinating reading. Our third section, although again only brief, focuses on a frightening belief, especially common late in the 1700s and into the 1800s, namely that some types of music can be pathological. Most notably, some writers and musicians believed that the vibrations from the glass armonica, a musical instrument invented by Benjamin Franklin in the mid-1700s, could fray nerves and some drive people insane! As will be seen, “susceptible” populations at this moment in time meant individualssupposedlyhavingweaknervoussystems,oftenwomenlivinginurban settings. The fourth section isby far the longest, and it is here that our authors examine famousmusicianswithneurologicalandpsychiatricdisorders,discussinghowthey were treated and how their afflictions affected their compositions and/or playing. Thesamplingofmusiciansandtheirillnessesincludes,butisnotlimitedto:Robert Schumann,whoseinsanityhasbeenattributedtosyphilis;PaulWittgenstein,anam- puteewhosufferedfromphantomlimbsyndrome;WolfgangAmadeusMozart,who, contrarytopopularbelief,probablydidnothaveGillesdelaTourettesyndrome;and Fre´de´ricChopin,whoseproblemsarestillasourceofgreatcontroversyand,asour authoropines,shouldmakeusthinkcarefullyandperhapsdifferentlyaboutallret- rospective diagnoses. The idea that opera can tell us a lot about what nonphysicians (i.e., librettists) mighthavebeenthinkinginthepast,andaboutwhatgeneralaudienceswerebeing told about certain neurological and psychiatric disorders, is the subject of our last section.Thefirstchapterhereexaminessomnambulism(sleepwalking)asportrayed intheoperasofVerdiandBellini,theformerbasedonShakespeare’sMacbethand the latter beingmorerepresentativeofthe RomanticEra inoutlook.Thesecondis largelyconcernedwithmadnessinopera,asubjectthathasalwayscapturedthepop- ular imagination. Aswiththeothervolumesinthisseriesonneurology/neuroscienceandthearts, wehopethatthiscollectionofscholarlypaperswillshowreaderssomeofthemany waysinwhichthebasicneurosciences,neurology,andtheartscancometogetherto revealmoreaboutbrainfunctions,theartsandhumanities,and,forthatmatter,cer- tainfeaturesofeverydaylife.Ideally,thematerialcoveredinthisvolumewillalso serveasafittingpreludetooursecondmusicvolume,whichwillhaveagreaterfocus onnewerideasanddiscoveries,andwillalsoexaminemusictherapiesthenandnow. EckartAltenm€uller Stanley Finger Franc¸ois Boller Preface xvii RECOMMENDED ADDITIONAL READINGS Bogousslavsky,J.,Boller,F.(Eds.),2005.NeurologicalDisordersinFamousArtists.Karger, Basel. Bogousslavsky,J.,Hennerici,M.G.(Eds.),2007.NeurologicalDisordersinFamousArtists— Part2.Karger,Basel. Bogousslavsky, J., Hennerici, M.G., Ba¨zner, H., Bassetti, C. (Eds.), 2010. Neurological DisordersinFamousArtists—Part3.Karger,Basel. Critchley,M.,Hensen,R.A.(Eds.),1977.MusicandtheBrain:StudiesintheNeurologyof Music.HeinemannMedical,London. Horden, P., 2000. Music as Mwedicine: The History of Music Therapy since Antiquity. AshgatePublishingLtd.,Aldershot,UK. Kennaway,J.,2012.BadVibrations:TheHistoryoftheIdeaofMusicasaCauseofDisease. AshgatePublishingLimited,Farnham,UK. Neumayr, A., 1994–1997. Music & Medicine (3 vols.). D.J. Parent, trans Medi-Ed Press, Bloomington,IL. Rose,F.C.(Ed.),2004.NeurologyoftheArts.ImperialCollegePress,London. Rose,F.C.(Ed.),2010.NeurologyofMusic.ImperialCollegePress,London. Sacks,O.,2007.Musicophilia:TalesofMusicandtheBrain.AlfredA.Knopf,NewYork. Zeitler, W.W., 2013. The Glass Armonica: The Music of Madness. Music Arcana, San Bernardino,CA. CHAPTER 1 Franz Joseph Gall and music: the faculty and the bump PaulEling*,1, Stanley Finger†,Harry Whitaker{ *DepartmentofPsychology,RadboudUniversityNijmegen,DondersInstituteforBrain,Cognition andBehaviour,Nijmegen,TheNetherlands †DepartmentofPsychology,WashingtonUniversity,St.Louis,MO,USA {DepartmentofPsychology,NorthernMichiganUniversity,Marquette,MI,USA 1Correspondingauthor:Tel.:+0031-24-3612557,e-mailaddress:[email protected] Abstract ThetraditionalstorymaintainsthatFranzJosephGall’s(1758–1828)scientificprogrambegan withhisobservationsofschoolmateswithbulgingeyesandgoodverbalmemories.Buthis searchtounderstandhumannature,inparticularindividualdifferencesincapacities,passions, andtendencies,canalsobetracedtootherimportantobservations,onebeingofayounggirl withanexceptionaltalentformusic.Rejectingcontemporarynotionsofcognition,Gallcon- cludedthatbehaviorresultsfromtheinteractionofalimitedsetofbasicfaculties,eachwithits own processes for perception and memory, each with its own territory in both cerebral or cerebellarcortices.Gallidentified27faculties,onebeingthesenseoftonerelationsormusic. ThedescriptionofthelatterisidenticalinbothhisAnatomieetPhysiologieandSurlesFonc- tionsduCerveauetsurCellesdeChacunedesesParties,whereheprovidedpositiveandneg- ativeevidencesanddiscussedfindingsfromhumansandloweranimals,forthefaculty.The localizationofthecorticalfacultyfortalentedmusicians,heexplained,isdemonstratedbya “bump”oneachsideoftheskulljustabovetheangleoftheeye;hence,thelowerforeheadof musiciansisbroaderorsquarerthaninotherindividuals.Additionally,differencesbetween singingandnonsingingbirdsalsocorrelatewithcranialfeatures.Gallevenbroughtage,racial, andnationaldifferencesintothepicture.Whathewroteaboutmusicrevealsmuchabouthis scienceandcreativethinking. Keywords Gall(FranzJoseph),Spurzheim(Johann),organology,craniology,phrenology,musicfaculty, musicians,amusia,corticallocalizationoffunction,physiognomy Writingaboutthehistoryofthediscoveryoftheorganformusic,FranzJosephGall (1758–1828; Fig. 1) informs his readers: “There was shown to me a young girl, named Bianchi, aged about 5 years, and I was asked to decide what was the most 3 ProgressinBrainResearch,Volume216,ISSN0079-6123,http://dx.doi.org/10.1016/bs.pbr.2014.11.001 ©2015ElsevierB.V.Allrightsreserved. 4 CHAPTER 1 Gall and music FIGURE1 FranzJosephGall(1758–1828). FromtheCollectionBIUSante´Me´decine. remarkabletalentofthischild.”1Hethenstates,“Theideahadnotyetpresenteditself tomymind,thatthetalentformusiccouldberecognizedbytheformofthehead.” Whathelearnedaboutthisgirl(datenotgiven,butlikelyinthe1790s)isnotable. To quote, This child repeated all that she had heard sung or executed on the piano; she retainedbyheartwholeconcertos,whichshehadheardatmosttwice...Herpar- ents assured me that she was endowed, with this astonishing faculty for music only.WhatcouldIconcludefromthisdeclaration?Thatthereexistsawellmarked difference between memory for music, and the other species of memory which I knew at that period; and that each species of memory must have its distinct organ. Gall(1835,vol.5,p.63) He continues with theseeven more overlookedwords: FromthatmomentIdevotedmyselftomoreconnectedresearchesintothediffer- entspeciesofmemory.InverylittletimeIbecameacquaintedwithaconsiderable numberofpersons,whohadanexcellentmemoryforcertainobjects,andavery 1Wehaveunsuccessfullytriedtotracethisyounggirl.AntoniaBianchiwasafamousoperasinger,born in1800inComo,Italy.Webelievethatthe5-year-oldgirlmentionedbyGallhadtobebornbeforethis time,i.e.,around1790,sincehestatesthatshestimulatedhimtodevelophisorganologymoresystem- atically,leadingtohispubliclecturesfrom1796onward,asdescribedinhislettertovonRetzerin1798. Gall and music 5 feeblememoryforothers.Theseobservationsledmetoaugmentthenumberofmy denominationsformemory,andIadmittedapeculiarmemoryfortones. Gall(1835,vol.5,p.63) WhatGallwroteaboutBianchi,andindeedhisentiresectiononthe“Facultyof Perceiving the Relation of Tones, Talent for Music (Ton-sinn),” is the same in his twomostfamousworks.Thesearehislandmarks:AnatomieetPhysiologieduSys- te`me Nerveux en Ge´ne´ral et du Cerveau en Particulier..., written in part with his assistant,JohannSpurzheim,andhislater,smallerandlessexpensiveSurlesFonc- tionsduCerveauetsurCellesdeChacunedesesParties,whichwastranslatedby WinslowLewisin1835andfromwhichthequotationspresentedaboveweretaken. (BecausewefoundLewis’EnglishtranslationtobeconsistentwiththeFrenchtext, we will continue to cite it when quoting Gall on the music faculty, rather than translatinganew). ThisrevelationaboutaspecifictalentformusicclearlyenergizedGall,alteredhis thinking,andaffectedthecourseofhisresearchprogram.Basedonhisownwords, theideaofdistinctfacultieslocatedinspecializedcorticalareasseemstohavebeen presentinGall’smind,inatleastnascentform,priortoBianchi.Atthistime,while his ideas about the organization of the mind were still taking shape, he apparently realizedthathehadanotherbasicfacultytoconsider,anotherreasonforcollecting special or unusual cases, and another reason to think differently about memory. These were extremely important developments that shaped his public theorizing aboutbrainandbehavior(i.e.,hisorganologiealsotermedhisScha¨dellehreorcra- niology;formoreonGall’sterminology,seeClarkeandJacyna,1987,pp.222–223; VanWyhe,2004),whichwouldsoonemergefromadevelopmentalstatetoamore formalsystemofconjectures,methods,and(inhismind)factsbackedbyempirical evidence. ThetwoaforementionedquotationsalsorevealthatthestartingpointforGall’s theorizing stemmed from his interest in individual differences. Bianchi, for one, revealed that some individuals possess specific talents that others do not have and that aperson can be exceptional at one thing,such asmusic, while beingquiteor- dinaryatothers.Clearly,Gallconcludedthatthehumanmindisnotageneralfaculty or even made of a few components such as common sense, fantasy, imagination, judgment, and memory. On the contrary, there are various specific faculties, each withitsownmemoryfunction.Additionally,Gallwasbecomingevenmorecertain thattalentisnotprimarilyamatteroflearning.BecauseBianchineverstudiedmusic and was just a child, her unique talent must be innate, although capable of being shaped tosome extent by experience. All of this was of great significance to Gall, whose overriding passion was to comprehendwhatmightbecalledhumannature.Hetrainedandpracticedasaphy- sician, andhe was an exceptionally good anatomist (afact recognized byeven the staunchestopponentsofhisorganology).Butwhathewantedmostwastounderstand why human beings behave as they do and especially why they tend to act differently—an observationsuggesting to him that people do not possess perfectly
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