Music in the focus of modern neuroscience

The article try to comprehend the latest achievements in such a field of neuroscience as a neuroaesthetic that explores the nature of music and musical creativity through the prism of ontogenetic features of the human brain. Numerous examples show that the key ideas of neuro-aesthetics generally correspond to the spirit of Kantian apriorism, reinterpreted in modern terms of cognitive neuroscience. The research suggests the unity of the growth points of the cognitive mechanisms of scientific knowledge and the artistry, and vistas of the research movement in this direction. Cognitive studies make it possible to establish a direct relationship between musical practice and neurophysiological processes (in particular, with functional asymmetry of the cerebral hemispheres), and the formation of neuroscience of aesthetic experience, neuro-aesthetics. This field of knowledge has the goal to answer questions related to the neurophysiological mechanism of emotional influence of music, what structures in the brain are activated when listening, performing and composing music, are responsible for determining the sound, rhythm and tonality, as well as whether the perception of music at the neurophysiological level varies between men and women. In the first part of the study "Natural Languages and the Musical-Speech Continuum: the Community of Neurobiological Foundations", ontogenetic and neurobiological bases of musicality are revealed. The article deals with the idea of the commonness of neurobiological bases of natural languages and the musical-speech continuum, which confirmed by the data of neuroscience studies on the colocalization of brain regions responsible for linguistic and musical functions. Since music is traditionally directly associated with motor activity, dance, - the idea of the role of mirror neurons of the brain in the perception of the rhythm set by musical sounds in the modalities of consonance and dissonance expressed. In the second part of the work "Cultural-ethnic musical module as an ontogenetic basis of musicality" the concept of a musical module correlating with the cognitive neurostructure is suggested, in the formation of which certain cultural and ethnic features of the environment where it is formed and continues to be generated are involved. On the basis of data from studies of Western European and Eastern artistic practice, an unambiguous dependence of their genesis and evolution on mental and neurobiological factors, which distinguish representatives of different cultures, for example, biological modes in the form of internal pulse and respiration, physical and astronomical measurements of certain cultural and historical modes, is affirmed. An assumption is made about the nature of the difference between the Western (homophonic-harmonic, and later polyphonic) and Eastern (monodic) musical traditions. It assumed that reason for this difference explained by the predominance in the West of analytical, and in the East, holistic thinking, which generated by the corresponding differences of certain areas of the brain activity. Therefore, in the first case an unconditional preference is given to the individuality, and, consequently, to the harmonious orderliness of the polyphonic texture of the "points of view". In the second, belonging to a certain community united by cooperative activity, which gives this community integrity, important for its selfpreservation and self-identification, gave rise to the monodic constancy of recitation in combination with the immanent improvisation of intonations, the synchronization of sound impulses acquiring a collective meaning. The musical sound in the eastern musical tradition is an important factor of socialization and interaction between people. In the West, with its emphasis on individual personality traits, a different musical format adopted. The article touch the problem of the origin of music as an effective means of adapting a person to the environment. Analysis of the factors that made music an important part of human and social life allowed us to consider music as an important determinant of socialization and interaction between people. A number of researchers of the causes of the phenomenon of music pay attention to the almost unique quality of human society - the quality of synchronization of sound actions when the sound acquires a collective meaning and allows pursuing a collective goal.

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