Index
Italic page references indicate figures.
absorption property of waves 17
acetylcholine neurotransmitter 202
Acheulean stone tools 115, 116
acting and music 316
activation 201, 215–216, 215, 317
actors: Aristotle and 312–313; dialogue of 6, 122, 178; pacing and 4; physical performance of 6; protagonists 314–315; rhythm of 4, 122–123; tempo of 205
Adams, D. Q. 268
adaptation 88
Aeschylus 297
aesthetic 3–4, 7–8, 63, 66, 282
Alcaeus 293
alpha frequency region 174
altered states of consciousness 196–197, 199–200, 211
American Idiot (Green Day) 217
amniote clade 44
amplitude of sound wave 167, 167
amygdala 31–32, 31, 44, 84, 174
ancient Chinese civilization 272–273
Anderson, Warren 293, 295, 299, 301, 306, 315
anthropomorphism 195–196, 195, 225
apes 92
Appia, Adolphe 133
Aristotle: actors and 312–313; adaption of, to times 299; birth of 310; catharsis and 316–317; comedy and 11, 314; death of 319; defects of hearers and 314; dithyramb of Philoxemus and 291–292; dreaming and 49; epic poetry and 318; influence of 310; language and 298; math and music and 294; mimesis and 312–314, 316–317; Muses and 311–312; music and 311–316, 319–320; musicians and 312–313; music versus song and 67; pathos and 313; persuasion and, modes of 311; Plato and 310–311; protagonists and 314–315; purgative melodies and 316; Pythagoreans and 294; sculpture of 310; theatre and 317–319; tragedy and 11, 314, 317–318
arousal: activation and 201; Berlyne’s theory of 214–216, 215; curtain times and 213–214; defining 201; Mozart effect and 205; music and 202–206; neuroscience of 201–202; tempo and 205; Thayer’s model of 211–214, 212
Arrival at a Train Station (film) 69
art: cave 191–192, 191, 194, 195, 195; evaluating 63; musical line and, development of 160–165; sound, terms of 34; timeline of earliest 160; visual 34–35, 68–69, 71, 72, 165; visual line and, development of 164
Atapuerca cave 134–135, 136, 137, 138, 165
audiovisual neurons 90
auditory cortex 144, 144, 146–150, 147, 172–174
auditory elements of music 71–74, 72
auditory system 120–121, 142, 143, 144; see also ears
Australopithecus 99–102, 100, 111
autobiographical memory 246, 249–251, 315
automatic timing circuits 121–122
autonoesis 224
autonoetic consciousness 245
autonomic nervous system 201, 202–204
autonomous theatre 11, 81, 282, 319
Avner, Jeffrey 200
Babelsberg Film Studio lecture 41–43, 55
Baddley, Alan D. 233–234, 237, 240
basal ganglia 44, 98–99, 99, 146
basilar membrane 28, 35, 142, 143, 167
beat: acting 215–216; in drumming 119; frequency 169, 169; pulse and feeling 119; synchronizing to 23, 84, 118–122
Begg, Ian Maynard 244
belief systems and music 270–275
Bennet, Michael 232
Berlyne’s theory of arousal 214–216, 215
Big Bang 15–16; of evolution, 23
bipedal primates 97–102, 97, 100
birds 44
Bizkit, Limp 308
Blacking, John 70
Blombos cave 160, 161, 162, 166
blood pressure changes and music 202–205
bone flutes 163–165, 164, 190, 227, 228
Bracewell, John 142
brain: activity, measuring 49; amygdala 31–32, 31, 44, 84, 174; audiovisual neurons 90; auditory cortex 144, 144, 146–150, 147, 172–174; basal ganglia 44, 98–99, 99, 146; basilar membrane 28, 35, 142, 143, 167; brainstem 28, 99, 144–145, 171; Broca’s area 111, 113, 114–115, 150; cerebellum 28, 45, 99, 144, 145, 146; cerebral cortex 98; communication among parts of 174; consonance and activation of 172–173, 173; corpus callosum 145; dissonance and activation of 172, 173; dorsolateral prefrontal cortex 50; dreaming and 49, 56, 71, 200; eighth cranial nerve 144; entrainment and 119–120, 125–126, 146; foramen magnum 97–98, 98; forebrain 145; frame of references and 54; gray matter 47, 48; Heschl’s gyrus 146; hindbrain 144; hippocampus 146; hypothalamus 145; inferior colliculi 145, 171; insular cortex 89; language and, processing of 133–134, 149–150; lateral lemiscus 145; limbic system 31, 50, 89, 90, 200; lobes of 44, 45, 49, 54, 146, 174; major parts of human 27; medial geniculate nucleus 146; medulla oblongata 144, 145; mesolimbic system 207–208, 207; midbrain 145, 145, 207; mirror neurons and 87–90; motor centers of 121, 121; music and, processing of 133–134, 149–150; neocortex 44, 44, 47, 49, 99, 146; nucleus accumbens 207–208, 207; pons 144–145, 145; reward center of 207–208; rhythm and, processing of 150–151; sensorimotor system 121, 121; sound and 144–147, 145, 147; spectral resolution and 148; superior olivary complex 145; temporal resolution and 148; of tetrapods 28; thalamus 145–146, 145, 149; time and 126; waves 146, 174; white matter 47–48, 48; see also evolution of human brain; memory
Bridge, Donna 277
Broca’s area 111, 113, 114–115, 150
Bronze Age: biblical accounts of language and 268–270; civilizations in 266, 267, 268; metalworking in 266; musical instruments in 270; music and belief systems in 270–275; overview 278; Proto-Indian-European migration in 269–270, 269; timeline 267; time period of 266
Brown, Ross 65
Brown, Steven 81, 86, 110, 149–150
Burris-Meyer, Harold 15, 33, 120, 142, 315
Busoni, F. 176
cadence 215
Cambrian explosion 22, 23, 25, 30–31, 43
Carighero, L. 88
Carroll, Sean 54
Cartwright, Mark 298
Cask of Amontillado 178
categorization scheme 256
Catmur, Caroline 88
cave art 191–192, 191, 194, 195, 195
Cave of the Hands 194
Central Executive system 233, 237
cerebellum 28, 45, 99, 144, 145, 146
cerebral cortex 98
Chanda, Mona Lisa 202, 204, 206, 208
cholinergic system 202, 210–212
chordophones 270
chorus 177
Chorus Line, A 232
chunking 238–239, 246–247, 318
cinematic notation 69
Clockwork Orange, A 250
Clottes, Jean 213
cochlea 46, 142, 146, 168, 171–172
cochlear nucleus 144
cognitive models for music in theatre: Berlyne’s 214–216, 215; Thayer’s 211–214, 212
cognitively controlled timing circuits 122
Cohen, Robert 264
Collison, David 15
communication: among brain parts 174; emojis and 67; language and 67–68, 152; music versus 8, 64; of tetrapods 30–31; vocalizations of primates 84–85, 93–96; see also language
composing sound scores: actors’ pacing and rhythms and 4; approaches to 4–8; chunking and 238; consonance and 176–177; dissonance and 176–177; imitation and 309; memory and 230; during rehearsal process 5; before rehearsals 4; simultaneously but separately from composing music 7; during technical rehearsals 4–5; for theatre 178
Conard, Nicholas J. 164
concert lighting 70
consciousness: altered states of 196–197, 199–200, 211; autonoetic 245; as continuum 196; development of 190–199; dreaming and 196, 199–200; Hobson’s model of 209, 210; Martindale’s model of 209, 210; models of differing levels of 210, 211; Rossano’s model of 209–210; sophistication of, rise in 255
consciousness awareness, losing in theatre 54–55
consonance: brain activation and 172–173, 173; composing sound scores and 176–177; cortical perception of 172–174; defining 166; entrainment 171, 172; in Greek civilization 294–295; harmony (texture) and 172; line/melody and 172, 175–177; neural periodicities of 167–169, 167; overview 179; perfect 176; scene changes and 179; subcortical perception of 167–172; in theatre 174–175; time and 179; of two tones 171
context, categorization and 254–255
Cooper, Jerold 276
corpus callosum 145
Cowan, Nelson 172, 231–232, 237
Cowboys#2 158
cranial capacity of hominins 113
Crick, Francis 28
cues for memory recall 246–248, 255
Cueva de las Manos cave 194
Curious Savage, The 55
Davies, John Booth 34
Death of a Salesman 223
design elements of music 71–74, 72
Devlet, Ekaterina 196
diagetic sound 248
diffraction property of waves 17
Dionysian festivals 293, 295–296
dishabituating 33
dissonance: brain activation and 172, 173; composing sound scores and 176–177; cortical perception of 172–174; defining 166; entrainment 171, 172; in Greek civilization 294–295; harmony (texture) and 172; line/melody and 172, 175–177; neural periodicities of 167–169, 167; overview 179; roughness and 168–169; scene changes and 179; subcortical perception of 167–172; in theatre 174–175; time and 179
Donald, Merlin 81, 101–102, 115, 117, 139, 160, 190, 242, 249, 297, 307, 314
dopamine neurotransmitter 202, 207, 316
Doppler shift 17
Dorsolateral prefrontal cortex 50, 173, 200
drama: birth of 298; defining 298; in Greek civilization 295–299; theatre’s development into 264–267; see also specific title; theatre
dreaming: altered state of consciousness and 199–200; Aristotle and 49; brain and 49, 56, 71, 200; consciousness and 196, 199–200; function of 49; theatre as collective 63; time perception and 43, 49–51
drum 272
Dury, Ian 208
dynamics: element of music 73
ears: anatomy of 142, 143, 144; cochlea 46, 142, 146, 168, 171–172; development of 22–23; eardrum (tympani) 25, 28, 142; eyes in complementing 34–35, 48; incus (anvil) 142; inner ear 24, 25, 28, 144; internal auditory canal 144; in locating objects 34; of mammals 46–47, 46; middle ear 46, 47; pinnae 142, 143; sound and 142, 143, 144, 144; space and 48; of tetrapods 25, 28; time and 71, 79
Effects of Gamma Rays on Man-in-the-Moon Marigolds, The 223, 234–235
eighth cranial nerve 144
Einstein, Albert 17, 36, 42, 52, 53, 55, 224
electromagnetic waves 17, 19, 22, 71, 79
electronic dance music (EDM) 205, 218
electronic theatre sound design 6
emojis 67
emotion: in cuing memory recall 247; evolution of human brain and 31–33; habituation and 32–33; memory and 241; music and 251, 298, 305, 312; startle effect/response and 32–33; theatre and 32; theme in music and 248
energy element of music 72–74, 72
energy in time and space combination element of music 72, 73–74
entrainment: basis of 23; brain and 119–120, 125–126, 146; of cardiovascular system to music 204; consonance as a form of 171, 172; dissonance 171, 172; as function of music 120; of humankind 119; at jazz concert 119; Mayer Wave and 204, 204; music and 120, 250; of phyla 119; rhythm 171; running and 118–119; scene changes and 124; of sea lion 84; tempo 118, 204; time and 125–126
envelope element of music 73
ESPN Indy 500 television series hook 236
ethos 293–294, 304–306, 311–312, 320
Etzel, Joset A. 204
Euhemerus 277
evolution: of hearing 22–23, 25, 28, 29, 46–47, 46; holistic approach to 80–81; Lamarckian 141, 282, 319; of language 136, 139; linguistic approach to 80–81; musilanguage approach to 80–81; understanding 80–81; of vision 22–23, 25; see also evolution of human brain
evolution of human brain: amniote clade 44; amygdala 31–32, 31; anthropomorphic worldview and 195–196, 195; apes 92; Australopithecus 99–102, 100, 111; baboons 86–87, 88; bipedal primates 97–102, 97, 100; birds 44; bonobos 95–96, 96, 119; chimpanzees 94–96, 95; dreaming and 43, 49–51; early Homo 111–117, 111; emotion and 31–33; fish 22–23, 23, 24–25, 24; gibbons 92, 92; gorillas 93, 94; habituation and 29–30, 32–33; hearing and 22–23, 25, 28, 29, 46–47, 46; Homo erectus 111, 114–117, 118, 126–127, 135–136, 139, 160, 190; Homo ergaster 114–115, 114; Homo habilis 111, 112, 114; Homo hedelbergensis 134–136, 134, 136, 139; Homo rudolfensis 111, 112, 114; Homo sapiens 136, 139, 141, 160, 162–165, 162, 191, 216; Homo sapiens neanderthalensis 136, 138; Homo sapiens sapiens 139, 140, 141, 160, 190–191, 282; jelly fish 20, 21; lungfish 30, 30; macaque monkeys 85, 87, 93–94; mammals 43–48, 44, 45, 46, 48; New Stone Age 225–229; Old World monkeys 83, 84–87, 85, 86, 87; orangutans 92, 93; overview 10–11, 79–80, 128; prokaryote 20, 21; Sahelanthropus 97–99, 97; startle effect/response and 29–30, 32–33; taxonomic classification and 79–80, 80; tetrapods 25, 26, 27–28, 30–31; vertebrates 23, 24; vervet monkey 84–85, 86; vision and 22–23, 25; see also brain
exemplar memory model 254
explicit episodic memory 244–246
Exploratorium website 235
eyes: development of 22–23; ears in complementing 34–35, 48; fish 25; in locating objects 34; space and 33–34, 48, 71
Farmer, Henry George 228, 270–272, 295
Ferreira, Lucas L. 203
fight or flight response 28, 211
fish, early 22–23, 23, 24–25, 24
Fisher, Greg 65
Fivush, Robyn 249
flutes 163–165, 164, 190, 227, 228
foot-drumming 84
forebrain 145
foreshadowing music 241
Frayer, David W. 139
Frazer, Sir James 189
French flutes 164
frequencies 46–47, 72, 167–170, 169, 174, 177
Freud, Sigmund 49
Fripp and Eno music 158
frisson 209
Fritz, Thomas 170
Fugard, Athol 123
Geißenklösterle caves 163, 163
genomes sequence 136
German folk music 244
Gestalt perception 215
Giraud, Anne-Lise 149
Glassman, Robert 233
Glass, Philip 41
great apes 92
Greek civilization: first autonomous theatre in 295–299; consonance in 294–295; decorative vases in 290–291, 290; dialects in 291–292; Dionysian festivals in 293, 295–296; dissonance in 294–295; dithyrambs in 291, 295–297; drama in 295–299; epic poetry in 291; golden Age of Greece and 299; Greek Dark Age 287–288; Hesiod and 288; Homer and 288; homogenization of cultures in 291–292; language’s derivation in 287; language’s spread and 292; mimesis and 293, 319; Minoan settlement in 285–287, 286; Muses and 283–284, 283; musical instruments in 288–289, 289, 290; Music as a Chariot and 293; musicians in 298–299; music’s origin in 283–284; Mycenaean settlement in 285–287, 286; oral traditions in 286; overview 319–321; Peloponnesian War and 299; plays in, major 297; Pythagoras and 294–295; rhapsodes in 288; song’s origin in 285–293; theatre production and plays in 292–293, 297, 318; timeline 285; see also Aristotle; Plato
Greek theatre see Greek civilization; specific play title
guitars 169
habituation: defining 29; emotion and 32–33; inferior colliculi and 145; more subtle 231; stimulus and 212; time manipulation and 33
Hathor 271
Hawking, Stephen 42
hearing, evolution of 22–23, 25, 28, 29, 46–47, 46
Heffernan, B. 171
Helmholtz, Hermann 168
hemiola 118
Henderson, Isobel 292, 298, 301, 304, 310, 319
Henshilwood, Christopher 165
Heschl’s gyrus 146
Hesiod 288
Heyes, Cecilia 88
High Mass ritual 189
hindbrain 144
His Occupation 178
Hitchcock, Alfred 315
Hobson, J. Allan 209
Hohle Fels caves 163
holistic approach to evolution 80–81
Holman, Tomlinson 36
Holst, Imogen 177
Homer 288
Homo erectus 111, 114–117, 118, 126–127, 135–136, 139, 160, 190
Homo heidelbergensis 134–136, 134, 136, 139
Homo rudolfensis 111, 112, 114
Homo sapiens 136, 139, 141, 160, 162–165, 162, 191, 216
Homo sapiens neanderthalensis 136, 138
Homo sapiens sapiens 139, 140, 141, 160, 190–191, 282
Homo species and genus 111, 111, 135; see also specific species
Hopper, Ryan 217
Howard, Ed 3
Howard, Pamela 42
hypothalamus 145
iambic pentameter 205
idiophones 270
Illusion of Truth 244
imagination 56
imitation 88–89, 102, 115, 306, 309; see also mimesis
incus (anvil) 142
Indians 175
instruments see musical instruments
insular cortex 89
internal auditory canal 144
International Organization of Scenographers, Theatre Architects and Technicians (OISTAT) 41–42, 133
intuitive approach to making music 8
involuntary explicit episodic memory 246–248
Involuntary Musical Images (INMI) 234–235
Ion (Plato) 284
Ironic Contrast 241
Ishmael (Quinn) 225
Island, The (Fugard) 123
Kaku, Michio 224
Kayser, Christoph 84
Kazan, Elia 223
Kent, Cory 308
King Lear production history 264–265, 265
Kirby, E. T. 192, 198, 200, 208
Knowles, John 117
Koller, Hermann 307
Kopit, Arthur 175
Kraemer, David 234
Kubrick, Stanley 250
Kurosawa, Akira 175
Laakso, Aarre 115
Laczika, Klaus 205
Lamarckian evolution 141, 282, 319
Lamarck, Jean-Baptiste 141
Landry, Peter 2
language: anatomy 82; Aristotle and 298; biblical accounts of 268–270; brain’s processing of 133–134, 149–150; communication and 67–68, 152; consonants and 149; evolution of with music and mimesis 80–96; evolution of 136, 139; FoxP2 gene and 136, 139; Greek, derivation of 287; larynx and 30, 82, 139; mimesis and 115; monophonic quality of 69; music and 67–68, 133–134, 151–152; onomatopoeia and 115; order and 80; Proto-Indian-European 269–270; referential 68, 122, 152, 296; separation from music and 292, 320–321; spread of and Greek civilization 292; storytelling and 163, 229; temporal resolution and 148; in theatre 297–298; timeline 29; see also written language
Larsson, Matz 117
Lascaux cave art 191
lateral lemiscus 145
LeDoux, Joseph E. 240
Letwin, David 316
Lévi-Strauss, Claude 150
Levitin, Daniel 70, 127, 198, 202, 204, 206–208, 229, 234–235, 238, 241, 254–255, 283
Lewis-Williams, David 196–197, 210
light: biblical account of 15; concert lighting and 70; nature of universe and 16–17, 19; sound and 19, 34; speed of 32, 53–54, 53; time and 70; waves 18, 19, 23; white 35
lighting designers 70
limbic system 31, 50, 89, 90, 200
line, development of musical 160–165
linguist approach to evolution 80–81
listening: three types of (Chion) 147–148
logos 311
London Sound Colloquium 65
long auditory store memory 232–240
Longtin, A. 171
loudness element of music 73
lucid dreaming 55
Luther, Martin 208
M100 brainwave 146
McKee, Robin 205
malleus (hammer) 142
Malory, J. P. 268
mandrill 83
Mardikes, Tom 243
Martindale, Mark Q. 209
Masks of King Lear, The 264
“Masque of the Red Death” production 248
mass 72
mass extinction 48
Matchmaker, The 91
Mathiesen, Thomas 291, 293, 295–296, 298–299, 301, 306, 315
Mauro, Daniel 151
Maxwell, Ross 178
measured music 120
mechanical waves 17, 19, 22, 71, 79
medial geniculate nucleus 146
medium of performance 211, 251
melodic lines 74
membranophones 270
memory: autobiographical 246, 249–251, 315; characteristics in development of 229; chunking and 238–239; composing sound scores and 230; cues 246–248, 255; echoic 172, 179, 231; emotion and 241; episodic 244–246; exemplar model 254; explicit episodic 244–246; explicit 242, 244–246; formation of memories and 225; implicit 242–244; involuntary explicit episodic 246–248; long auditory store 232–240; long-term 239–242; mood and 240; multiple trace model 254; music and 229–230, 241–242, 292; overview 251, 252–253, 254–256; phonological loop and 233–234, 233; recall 101, 242, 245–248, 255; rhythm and 238; semantic 245; sensory 172, 179, 230–232; short auditory store 232; short-term 232–233; storytelling and 277; taxonomic structure of, related to theatre 252–253; visual iconic 172; working 233, 237–238, 242
mental time-travel 224, 245–246, 249
mesolimbic system 207–208, 207
metalworking in Bronze Age 266
Mezin cave 165
Michelangelo 69
migration pattern of Homo sapiens 162–163, 162
Miller, Dale 158
Miller, Geoffrey 127
mimesis: animals’ learning of 80; Aristotle and 312–314, 316–317; Donald’s definition of 102; ethos and 307, 320; evolution of with music and language 80–96; Greek civilization and 293, 319; Homo erectus and 117, 160; language development and 115; music and 11, 126–128; Plato and 306–308; primitive 196; song and 11; sound and 196; successful 307–308; theatre and 255–256
Minoan settlement 285–287, 286
Mismatched Negativity Event Related Potential (MMN) 231
Mithen, Steven 81, 99–101, 110, 115
Mitochondrial Eve 141
mood: memory and 240; music and 1–2, 211–212; negative 212; neurotransmitters and 202; positive 212; Thayer’s model of 211–214
Morley, Ian 165
Mozart effect 205
Muehlhausen, Andy 217
multiple trace memory model 254
Murch, Walter 69
Muscovitch, Morris 242
Muses 283–284, 283, 293, 305–306, 311–312, 320
music: acting and 316; actors’ physical performance and 6; as aesthetic experience 67; ancient Chinese and 272–273; Aristotle and 311–316, 319–320; arousal and 202–206; audible 68–71; auditory elements of 71–74, 72; auditory system and 120–121; autobiographical memory and 250; belief systems and 270–275; blood pressure changes and 204–205; brain’s processing of 133–134, 149–150; brainstem and 144; cardiovascular system and 204; of character 264; as a Chariot 126, 152, 165, 283, 293, 295; cognitive models for, in theatre 211–216, 212, 215; communication versus 8, 64; conditioning and 243; criteria for defining 74–75; Cross’ definitions of 67; dancing and 70, 198; defining 6, 64–68, 74–75; destiny and 273–274; development of Greek theatre and 11; editing 69–70; Egyptian civilization and 271–272; electronic dance 205, 218; elements of 71–74, 72; emotion and 251, 298, 305, 312; entrainment and 120, 250; evolution of with language and mimesis 80–96; experience of in theatre 64; foreshadowing 241; Fripp and Eno 158; function of in theatre 5–6; German folk 244; in Greek civilization, origin of 283–284; hemiola in 118; immediacy of 251; India 273–274; intuitive approach to making 8; language and 67–68, 133–134, 151–152; math and 294–295; measured 120; memory and 229–230, 241–242, 292; mimesis and 11, 126–128; mood and 1–2, 211–212; Nazi party and 244; oral tradition and 298; order and 80; as organized sound 65–66; periods of 215–216; physiological effects of 202–206; Plato and 67, 301–305, 320; playing 121–122; plot of play and 6, 317–319; primal aspect of 8; prosody of actors’ dialogue and 6; psychological effects of 206–211; rise of 319; in rituals 165, 227; Rodriguez’s definition of 64, 66–68; Romantics and 67; scene recall and 241; separation from language and 292, 320–321; sequencing sounds and 165–166; shamanism and 196, 198–199, 208; simultaneous production of notes and 166; song versus 67; sound and 3, 283; sound effect and 91; sound separated from 6–8; spirituality and 227, 274–275, 320; Stravinsky’s view of 68; subconscious level of experience of 171; tempo and 118–119; texture in 74; in theatre and memory 223; theatre’s origin and 317; theatre as type of 8–10, 81, 255, 282–283; theme in play and 32, 248; time and 8, 79; as time art 66; in transforming theatre 2, 7–8, 10; transmission from composer through performer to listener and 307; underscoring 32–33, 122, 124, 178; unmeasured 120; Varèse’s definition of 64–65, 67; visual 68–71; visual art and 165; visual elements of 71–74, 72
musical ability 117
musical instruments: aerophones 270, 271; in Bronze Age 270; chordophones 270; cithara (or kithara) 289, 290; discovery of first 163, 165; drum 272; flutes 163–165, 164; in Greek civilization 288–289, 289, 290; guitars 169; idiophones 270; lyre 273; membranophones 270; in Neolithic Period 270; Plato and 305; qin 274; sistrum 270
musical intervals 167–168, 167, 176
musical phrases 204
musical sound 68–71; see also music; sound
Music as a Chariot 126, 152, 165, 283, 293, 295
musicians 298–299, 312–313, 319
musilanguage approach to evolution 80–81
Mycenaean settlement 285–287, 286
“Mysterioso Pizzicato” 243
Nairne, James S. 229
narrative identity 249
Nazi party and music 244
neocortex 44, 44, 47, 49, 99, 146
nerve fiber measurements 169–170, 170
neural periodicities 167–169, 167
neurons: audiovisual 90; fluctuations of, measuring 49; mirror 87–90; oscillatory 171–172
neurotransmitters 201–202, 207
Newcomer, Carrie 125, 205, 244
Nicolay, Chris 139
Nietzsche, Friedrich 49
Night Must Fall (Williams) 2
Nomura, Kunihiko 117
non-traditional sound stimuli 65
norepinephrine neurotransmitter 202
North, Alex 223
novelty in cuing memory recall 248
ochre, discovery and use of 160, 162, 165
O’Connor, David K. 313
O’Connor, Jim 109, 123, 175, 241
O’Connor, Kindari 218
Old World monkeys 83, 84–87, 85, 86, 87
olfactory bulb 47
onomatopoeia 115
opioids 207
oral tradition 251, 254–257, 277–278, 286, 298, 302
order 80
Osiris 271
pacing of actors 4, 122–123, 205
parasympathetic nervous system 202
Patel, Aniruddh 150
phallic song 11
phonological loop 233–234, 233
phrases, musical 204
phyla 23
physiological effects of music 202–206
Pielmeyer, John 236
Pindar 293
Pinker, Steven 80
Placentalia subdivision of mammals 49
Plato: Aristotle and 309–311; birth of 299; decay of civilization and 299; dialogues of 299; imitation and 306; literature in education and 304–305; mimesis and 306–308; Muses and 305–306; musical instruments and 305; music and 67, 301–305, 307, 320; oral tradition and 302; power of music and, controlling 307, 320; Pythagoras and 299; sculpture of 300; song and 303–304; soul and 1; Theory of Forms and 302
play: in activation cycles 215–216; plot of 6, 297–298; theme of 32, 248; see also specific title
Poeppel, David 149
Poetics (Aristotle) 311, 316, 317
point of attack 318
popular classics 319
Prague Quadrennial (2011) 217
Pratinas of Phlius 293
preshow 213
primates see specific type
prosody of actors dialogue 6, 122, 178
protagonists 54, 294–295, 314–315
Proto-Indian-European migration 269–270, 269
proto-language elements 115
proto-musical elements 94, 115
psychological effects of music 206–211
pulse: auditory 120; beat and, feeling 119; intervals 120; rate 125; rhythm and 172; scene changes and 179; tactus 119, 122–126
recapitulation 318
reduced listening 148
re-experiencing past experiences 224
reflection property of waves 17
relativity theory 17, 36, 42, 51–56, 52, 53, 224
reliving past experiences 224
Remedios, Ryan 84
repetition and style 235
resonant tempo 126
review-rehearsal loop 242
Revonsuo, Antti 49
reward center of brain 207–208
rhapsodes 288
rhythm: of actors 4, 122–123; animals’ synchronization of 23; biological reaction to 119–120; brain’s processing of 150–151; circadian 20, 22, 125; defining 73; drumming 84, 95, 119; entrainment 171; memory and 238; pulse and 172; running and 117–118; transporting of audience from real world to dream and 126
rhythmic ability 117
rhythmic behaviors 96
rituals: dance and 128; defining 84; development of 190–199; High Mass and 189; music in 165, 227; overview 216–219; participating in 128; theatre’s origin and 189–190, 216; see also shamanism
Rivera, José 63
Rizzollatti, Giacomo 88
Rodriguez, Robert Xavier 64, 66–68
Roederer, Juan G. 166
Rogers, Scott 308
Romantics 67
Rosenberg, Marvin 264
Rossano, Matt 84, 190, 192, 196–197, 209, 239
Rozik, Eli 49, 72, 211, 251, 256, 295–296
Rubin, David C. 249
Sappho 293
scene designers 65
scene recall 241
Schacter, Daniel 243
Schechner, Richard 189–190, 255–256
schema 235
Schillemans, Marc 133
sea lion 84
semantic memory 245
sensorimotor learning 88
sensory memory 172, 179, 230–232
Separate Peace, A (Knowles) 117–118
serotonin neurotransmitter 202
Shakespearean plays 234–235; see also specific title
shamanism: altered states of consciousness and 196–197, 199–200; cognition and, modern 199–211; dancing and 198; ecstasy and, entering 206; elements common to many primitive cultures 192; meaning of 192; memory and 230; memory and 230; music and 196, 198–199, 208; overview 216–219; participating in 199; prehistoric evidence of 191–192, 191, 192, 193, 194, 195–199, 195; rituals in 198–199; rock art of Siberian 197; sound and 196; as theatre 199; theatre’s origins and 189–190
Shepard, Sam 158
short auditory store memory 232
Silver, Phillip 123
Sima de los Huesos cave 134–135, 136, 137, 138, 165
simultaneous pulses 168
sistrum 270
sleep 50–51, 199–200; see also dreaming
SmaartLive audio measurement system 148
smell 47
social experiences 110
sonata form 318
song: campfire, ancient 127–128; evolution of 134; of gibbons 92; in Greek civilization, origin of 285–293; mimesis and 11; music versus 67; phallic 11; Plato and 303–304
Sophocles 297
sound: ADSR of 73, 146–147; attention and 231–232; brain and 144–147, 145, 147; brainstem and 28; defining 16; diagetic 248; ears and 142, 143, 144, 144; frequencies and 167–169, 169; habituation and 29–30, 32–33; of horse-drawn carriage 91; iconic 6–7, 90–91; light and 19, 34; manipulation of in theatre 35–36; mimesis and 196; musical 68–71; music and 3, 283; nature of universe and 16–17, 18, 19; non-traditional stimuli of 65; organized 65–66, 71; perception of 15–16, 254; real doings and 72, 76, 90; referential 68–71; as scenography 42; separated from music 6–8; shamanism and 196; sound objects versus 146–147; speed of 18; startle effect/response and 28–30, 32–33; theatre experience and 42; unorganized 65; vibrations and 16, 19, 20; of walking or running 117; waves 17, 18, 19, 30, 167–168, 167; white noise 35
sound art terms 34
sound design and designers: Babelsberg lecture on 41–43; electronic 6; elements of 71–74, 72; organized sound and 65; scene changes 123; separation of sound from music and 6–7; sonata versus theatre form and 318
space: dreaming and 49–51; ears and 48; energy in 72, 73–74; eyes and 33–34, 48, 71; manipulation of in theatre 35; startle effect/response and 33; terms 34; time and 69; visual 73
spatial element of music 72, 73
spatial imaging systems, modern 36
spatial terms 34
spectral resolution 148
speech see language
Sperling, George 232
spinal cord 28
spirituality and music 227, 274–275, 320
Splatterflick 236
staccato hoot 96
startle effect/response: emotion and 32–33; evolution of human brain and 29–30, 32–33; frisson and 209; inferior colliculi and 145; modulating 203; more subtle 231; in movies and film 30; physical effects of 203; reflex of 28–29, 120; sound and 28–30, 32–33; space and 33; time manipulation and 33
Stockdale, Robin 316
Stolzenburg, Frieder 171
storytelling 109–110, 163, 216, 229, 277–278
Sumerians 276
superior olivary complex 145
Svoboda, Josef 42
sympathetic nervous system 202
sympathy 250
Takei, Yoshiaki 117
taxonomic classification 79–80, 80
taxonomic structure of memory related to theatre 252–253
tempo 118–119, 126, 146, 150–151, 204–205
temporal element of music 72, 73
temporal lobe 44, 45, 49, 54, 146
temporal resolution 148
temporal terms 34
tetrapods 25, 26, 27–28, 30–31
texture element of music 73–74
Thaut, Michael 10–11, 66, 69, 119–120, 125, 150–151, 201–202, 214–215, 238, 240, 295
Thayer’s model of psychological moods 211–214, 212
theatre: activation cycles in 215–216, 215; Aristotle and 317–319; Aristotelian analysis and 317–318; autonomous 11, 81, 282, 295–299, 319; balance between common and unique reactions to 251; balance of giving to audience versus audience providing 9; balance of play memories and life stories 250; categorization scheme and 256; cognitive models for music in 211–216, 212, 215; as collective dreaming 71; composing sound scores for 178; connecting with audience and 8–9; conscious awareness and, losing 54–55; consonance in 174–175; dance and origin of 189; defining 65, 133, 298; dissonance in 174–175; drama and, evolution to 264–267; dreaming and 54–55, 63; dreaming as origin of 49; emotion and 32; emotion in, avoiding presenting or representing 206, 208–209; expression in 9; form 318; function of music in 5–6; Greek government and 298; language in 297–298; memory and music in 223; mimesis and 255–256; music and development of Greek 11, 292–293; music and origins of 317; music in transforming 2, 7–8; “natural” style of 298; oral tradition and 251, 254–257; perception of external world and 55–56; questions about 217; relatable experience and 63–64; rituals and origin of 189–190, 216; scene changes in 122–125, 179; script and 133–134; shamanism as 199; shamanism and origins of 189–190; sound and experience of 42; sound manipulation and 35–36; space manipulation in 35; subconscious level of experience of 171; time and 35, 55, 256; transporting minds to other worlds and 199–200; as type of music 8–10, 81, 255, 282–283; visual designers in 35; worldview and, changes to 320; see also specific element and play title
theme of play and music 32, 248
Theory of Forms 302
thesis of theatre as type of music 8–10, 81, 255, 282–283
theta frequency region 174
This Is Spinal Tap 235
Thompson, Ernest 124
Thrasymachus 303
3D film 36
Timaeus (Plato) 302
timbres 74
time: animals’ organization of 23; art 66–67; Big Bang and 15–16; brain and 126; circadian rhythm and 20, 22; consonance and 179; dissonance and 179; dreaming and 49–51; dreaming and perception of 43, 49–51; ears and 71, 79; energy in 73–74; entrainment and 125–126; frame of references and 53–54; habituation in manipulating 33; light and 70; music and 8, 10, 79; perception of 63, 69, 124; relativity theory of 51–56, 52, 53; sleep and 50–51; space and 69; startle effect/response in manipulating 33; static images and addition of 69; terms 34; theatre and 35, 55
timelines: art, earliest 160; Bronze Age 267; Cambrian explosion 22, 43; earth’s origin 20; Greek civilization 285; Greek plays 297; hearing 29; Homo species and genus 111, 135; language 29; mammals’ appearance 43; primates to Homo 102
Timotheus of Miletus 299
tonotopic organization 142, 144
Tower of Babel 268
Tramo, Mark Jude 166, 169–170, 170
transmission property of waves 17
Tremaine, Howard 15
Trojan Horse 285
Tulving, Endel 224, 230, 245–246, 250
tunes 177
Turkana Boy 115
Ummagumma (Pink Floyd) 1–3, 211–212
underscoring 32–33, 122, 124, 178
United Scenic Artists (USA) Local 350 42
United States Institute for Theatre Technology (USITT) 41
Unkindness of Ravens, An 248
unmeasured music 120
Upanishad 1
value element of music 73
velocity 53
vestibulocochlar nerve 144, 144
Vinča culture 267
vision, evolution of 22–23, 25
visual art 34–35, 68–69, 71, 72, 165
visual art terms 34
visual designers 35
visual iconic memory 172
visual line, development of 164
visual space 73
Visuo-spatial Sketch Pad 233
vocalization see communication; language
voice frequency 177
volume element of music 73
Wagner, Chris 209
Walsh, Vincent 88
Watanabe, Ken 205
Watson, Lee 16
waves: brain 146, 174; electromagnetic 17, 19, 22, 71, 79; light 18, 19, 23; Mayer 204, 204; mechanical 17, 19, 22, 71, 79; properties of 17; sound 17, 18, 19, 30, 167–168, 167
Western musical intervals 176
white light 35
white noise 35
Williams, Emlyn 2
Winkelman, Michael 191–192, 197, 199, 206, 208, 210
Winkler, István 231
Winter’s Tale 236
working memory 233, 237–238, 242
Wray, Allison 81
written language: cuneiform 276, 276; emergence of 275–276; transition from oral tradition 277–278
Yanagida, Yasuyoshi 117