EXN-22-0045 Proof Hi

Neuroscience Insights
Is there any gender in different genres of the art of Music ?
Journal: Neuroscience Insights
Manuscript ID EXN-22-0045
Manuscript Type: Perspective
Date Submitted by the

07-Sep-2022
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Author:
Complete List of Authors: GARCIA-FALGUERAS, ALICIA; Biblioteca Nacional de Espana, Psychology

Research; Netherlands Institute for Neuroscience
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Neuroanatomy, gender, music, classical music, fado, flamenco, genre,

Keywords:
sulcus, temporal lobe, motor cortex, guitar, viola, rhythm, mandoline
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Music is an art form and cultural activity whose language, the sounds
and silences, is organized in time with logic and sensitivity. it seems not
wrong to affirm the art form of classical music does not have a clear
gender distinction and it might be mainly and ideally focus to intellectual
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purposes. Music as a whole is the result of an ancestral non verbal, non

violent and international mode of human expression and communication.
Musicality and music implies two different sides of the same coin, where
the former is based on the human capacities to produce the further. We
ev
propose that if there is any allusion or reminder about the gender in

Abstract: music might happen most probably in the folk non always written pagan
or secular music with lyric or voice. When differences between genders
iew
occurs in classical music it is usually due to empirical differences in

amplitude of records for sound waves (different voices in choirs). On the
other hand, folk and cultural music such as Fado or Flamenco are more
gender specific. In this text we will explore some neurological basis of
music in the brain that might have themselves some gender
neuroanatomical or functional differences. We will get into three different
genres of music (Classical music, Fado and Flamenco) to elucidate some
possible explanations about these gender differences.
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Page 1 of 23 Neuroscience Insights
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Is there any gender in different genres of
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the art of Music ?
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11 Alicia Garcia-Falgueras1, 2
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1Biblioteca Nacional de España, Paseo de Recoletos 20-22, 28001, Madrid
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14 2Netherlands Institute for Neuroscience, Meibergdreef 47, 1105 BA Amsterdam, The Netherlands.
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17 Email address:
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19 algarfal@hotmail.com
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23 Abstract: Music is an art form and cultural activity whose language, the
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25 sounds and silences, is organized in time with logic and sensitivity. it seems
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27 not wrong to affirm the art form of classical music does not have a clear
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gender distinction and it might be mainly and ideally focus to intellectual
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30 purposes. Music as a whole is the result of an ancestral non verbal, non
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32 violent and international mode of human expression and communication.

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34 Musicality and music implies two different sides of the same coin, where
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the former is based on the human capacities to produce the further. We

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37 propose that if there is any allusion or reminder about the gender in music
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39 might happen most probably in the folk non always written pagan or secular
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music with lyric or voice. When differences between genders occurs in
42 classical music it is usually due to empirical differences in amplitude of
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44 records for sound waves (different voices in choirs). On the other hand, folk
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46 and cultural music such as Fado or Flamenco are more gender specific. In
47 this text we will explore some neurological basis of music in the brain that
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49 might have themselves some gender neuroanatomical or functional
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51 differences. We will get into three different genres of music (Classical
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music, Fado and Flamenco) to elucidate some possible explanations about
54 these gender differences.
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58 Keywords: gender, music, classical music, flamenco, fado, genre,
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sulcus, temporal lobe, motor cortex, guitar, mandoline, viola, rhythm,
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Neuroscience Insights Page 2 of 23
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6 1. Introduction
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8 Accordingly to the definition of “music as an art form and cultural
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10 activity whose language, the sounds and silences, is organized in time with
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12 logic and sensitivity”, there are two different and separated sources where
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music emerges: the art form and the cultural activity. The former involves
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15 the written classical style, the later implies that the folk has not always
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17 written pagan or secular music with lyric or voice. A huge gap have
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19 always existed between these two musical activities, increased by religious
20 arguments, different dancing styles, type of audience which it is directed,
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22 percussion grade within the music, musical intentionality (higher and pure
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24 communication vs fun and entertainment), etc. Honorable exceptions
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happened for these two categories, such as the Gregorian chant, sacred
27 written songs sung by choirs of religious men and boys or the sung poems
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29 written by the dissenting young clerics the Goliards, some of them have
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31 been reinterpreted by Carl Orff of the manuscript poems written in 1230
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Carmina Burana in 1936.
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34 Another distinctive definition could be the difference between
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36 musicality and music. The first one implies a natural and inherent
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38 spontaneous human trait based upon the musical brain and its different
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39 functions (biology and cognition). The second one, music, is the result of
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41 that musicality developed inside a social and a cultural environment [1, 2].
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43 For Darwin, music had no survival benefits, but it offered a means of
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impressing potential partners. It is very noticeable the social value that
46 music has as a social glue. Music and musicality might be considered as an
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48 embodied language which provide a manner to the brain for communicating
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50 with the environment (what the ensemble is playing) without losing the own
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musical track [2]. Advances in molecular technologies and twin studies have
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53 reported familiar clusters of specific genes for amusia, absolute pitch or
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55 pitch perception [3]. Recording in raw acoustic signals (wavelet transform
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57 signals) and brain signals (electroencephalographies, EEG) have also been
58 used to study the synchrony between the sound of guitars playing in duet
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60 with the brain signals of their players [4].
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3 Despite the fact many kinds of music have been done under the
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5 effects of drugs or alcohol, there is not prove or evidence that music had any
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7 psychedelic effects per se. Aggressively might be the same, an state of mind
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expressed through music, but not caused by its simple auditory action.
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10 While people is listening or playing music, violence is far away from their
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12 minds. Under specific circumstances, music and its loudness has been used
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14 as a tool for tortures and abuses in Guantanamo jails. However, music is
15 generally a more friendly speech, like Mozart´s compositions: he was
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17 unable to swear or curse through music [5]. Music as a mind game, is
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19 mostly funny and smiley created to amuse and whoopee as a reward.
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Musical performance involves several complex and different acts
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22 (symmetry among hemispheres, motor coordination, concentration on the

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24 sounds, etc), whether constructed for artistic music or construed for other
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26 music and each of them implies different specific brain areas related to the
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ear [6]. In nature, birds use sounds to communicate (in many songbirds
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29 species only male sing) and their auditory cells in their brains are hormone
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31 sensitive and depending on the breeding season. Those auditory cortical
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33 neurons are shaped by learning [7].
34 Depending on specific qualities of the melody, as its tender nature,
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36 flexibly rather than emphatically constructed, some listeners might consider

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38 specific melodies as typically constructed by feminine or masculine
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composers. The number of female composers or conductors is very few,
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41 probably due to a confidence matter, related to the different number of
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43 professional chances or the amount of unreasonable obstacles for each
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45 gender [8].
46 Some Dutch musicians such as Antonia Brico and Frieda Belinfante
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48 became conductors after passing many turbulent obstacles, uncountable
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50 recklessness. Brico moved to the USA before becoming a conductor, while
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Belinfante did the same after she became a conductor. The knowledge of the
53 written piece of music, the ability of giving instructions to musicians about
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55 when to start, how change intensity or tempo, the capacity of controlling
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57 emotions caused by music, leadership preparedness etc, might not be
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different between man and woman. Not in vain, some female classical
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60 music composers chose to give their pieces and merits to men, for being
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3 someway listened in their own constructions by an audience, no mattered
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5 copyrights or labels. That is the case of Josephine Lang who gave her songs
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7 to Robert Schumann or Maria Anna Mozart, who did the same with her well
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known and reputed brother, or Felix Mendelssohn, who obtained his elder
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10 sister Fanny´s compositions, Opuses 8 and 9, as his own pieces [9, 10, 11].
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12 In these cases, not under a pseudonymous, but deleting their whole identity
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14 from their works. And nobody noticed, proving the gender of the composer
15 for classical music is not identifiable from the musical content of a
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17 composition itself. That was also empirically proved after checking the
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19 opinion of 71 listener of classical musical extracts: they did not find
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watermarks that significantly reveals the accurate sex of a composer [11].
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22 Gender in classical music is difficult to perceive.

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24 And the same is true for the construed dimension of artistic music.
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26 After analyzing the performance of several interpreters, 69 well trained
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musically listeners were not able to accurately distinguish the gender of the
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29 performing artist or interpreter [12]. Measuring some parameters during the

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31 playing by 54 pianists (10 women and 44 men) of the song “Arlequin” from
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33 Schumann´s “Carnaval”, op. 9, (tempo Vivo or, Vivace, lively and fast, 156-
34 176 beats per minute, bpm for both genders) they found a small but
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36 statistically significant difference in the speed interpretation of the tempo.

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38 While women performed at 165 bpm men did it at 180 bpm [13]. This funny
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piece of music by Schumann is made in three different structures: one and
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41 two parts that are very rhythmical with a clear beat. However, part three is
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43 more melodic and singing, with a clear ritardando written in the music sheet.
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45 Difference in genders might only be pointing out a different interpretation of
46 that ritardando (more or less elongation in time) and have nothing to do
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48 with skills or abilities in performance.
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50 Curiously a different gender expressions of gender social roles has
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been described between musicians: men classical musicians show a higher
53 female-typical gender role behavior while the opposite is true for female
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55 classical musicians, compared both to non-musician people [14]. After
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57 checking steroids levels in voice musicians, Nieschlang and colleagues
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found androgens might shorten and estrogens might extend life expectancy
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60 in singer women, while in singer men, the opposite might be true [15].
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3 Hormones are very present in classical music [16], however performances
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5 between genders is not remarkable different.
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7 Musical practice and listening for both genders involves cerebral
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benefits. It also protects brain against declination of certain cognitive
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10 domains which happens with aging (auditory perception) [5, 17]. When
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12 music involves human voices together with instruments, the gender of the
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14 singing is more palpable, corporeal or tangible. The human voice is a feature
15 which each person possess and it gives information about his or her gender,
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17 mood, origin, etc. [18].
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19 Speaking about body movement, during watching dance, the occipital
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temporal cortex (left fusiform gyrus) is significantly activated in male and
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22 female dancers, compared to non dancers. Remarkable is the fact that the
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24 expertise in body movements of professional dancers and athletes of both
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26 sexes carries an increase in symmetry or a reduction in the hemispherical
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asymmetry in the sensorimotor and visual areas compared with non experts
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29 (Figure 1) [19].
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Figure 1. Topographic maps of the voltage distribution over the scalp while watching
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45 dance performance. Dancer group (left side of the picture) showed bilaterality negative
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values of voltage over the occipito-temporal area (blue areas), while non dancers (right
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48 side of the picture) only showed that negativity in right hemispherere. With permission,
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Orlandi and Proverbio, 2019.
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52 Related to body balance in professional dancers, it was described a
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gender difference in the time of body stabilization after landing from a
55 vertical jump: female dancers presented a higher rate of ankle sprain. In the
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57 last few years. Speed and dynamics of dance performance have increased,
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59 raising the risk of injuries and accordingly to the performance level [20]. That
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might have an effect over the time to equilibrium, being prevalence of
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3 stabilization higher in girls, in both directions (anterior-posterior and medial-
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5 lateral axis) compared to male dancers [20, 21].
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7 Music and language processing occurs across a number of discrete
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modules in the brain, some of them overlap while others remain distinct.
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10 During singing instrumental and singing music, the areas of the brain that are
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12 activated are located in the superior temporal sulcus. These areas are
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14 considerable larger during musical listening compared to activation that
15 occurs during speech with no music (Figure 2) [22].
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45 Figure 2. Visual representation of the clusters of activation while listening instrumental
46 music (green bar), singing song (red bar) and language speech (grey bar). Three of them
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are located in the sulcus area, over the temporal lobe. However, those sounds which carry
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49 music in their spread, are occupying a significantly larger area in the sulcus (green and
50 red bars) than speech. With permission Whitehead and Armony, 2018.
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53 Some years ago a neuroanatomical study of the human auditory cortex
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showed that cytoarchitectonically there is a gender differences in the amount of
56 neurons in this area around the superior temporal gyrus, including the
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58 previously mentioned, superior temporal sulcus [23]. Analyzing Nissl stained
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60 sections with mean thickness of 25 µm: women presented higher amount of
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3 neurons in layers II and IV (not in III, V or VI ones). Cell packing density in
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5 both hemispheres of cortical temporal gyrus was 11% greater in females brains
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7 compared to male, suggesting the idea the number of granular cells were
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similar between genders, but differences did exist because of a different packed
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10 mechanism. That 11% difference was explained as one possible cause of a
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12 mechanical compression or geometric consequence of smaller volume in total
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14 brain in females [23]. A similar results was found in rat brain: Reid and Juraska
15 found only in layer IV a sex difference in number of neurons, having male rats
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17 the bigger amount [24] .
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19 During the experience of musical rhythm, both active production and
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passive perception, the cortical auditory and motor are connected and
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22 activated together with a number of subcortical and different structures such

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24 as basal ganglia, cerebellum, supplementary motor areas, premotor cortex,
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26 temporal and parietal cortices. However, the nature of the music and those
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songs with defined or non-defined clear beats (percussion) might have a
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29 different effect over this brain activation [25]. Metabolically gender

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31 differences have been described for biological rhythms, which are regulated
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33 via hypothalamus, occurring because of the gender differences in its
34 anatomy, physiology and pathophysiology which sustain circadian rhythms
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36 [26]. Circadian rhythm have been widely proved to be different among

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38 genders and that difference in metabolisms, not necessarily involved in
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healthy terms, might also have some implication with music, beats and
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41 sounds interpretation, especially in folkloric non classical pieces of music.
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43 Some neuroanatomical gender differences have been found in the
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45 cerebellum [27, 28] as well as in the temporo-parietal region [29] those that
46 might be involved in the rhythmical production and perception of the music.
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49
2. Genres in Music
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52 Fado is the most internationally known expression of Portuguese music. One
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of the best definitions of Fado was offered by the Fado singer Amália
55 Rodrigues (1920-1999), who is considered the artistic ambassadress of Fados in
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57 Portugal: "Fado is a very mysterious thing, you have to feel it and you have to
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59 be born with the anguished side of the people, to feel like someone who has
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neither ambitions nor desires, a person... as if one did not exist. That person is
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3 me and that's why I was born to sing fado. " It is generally sung by a single
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5 person, accompanied by string instruments like the "viola", the Portuguese
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7 guitar, mandolin or rajäo although there are adaptations to other instruments
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such as piano or dulzaina (Figure 3) [30]. Percussion is not used or very rarely
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10 [31]. Fado takes its name from the Portuguese word "fate", which is
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12 synonymous with the Latin word "factum", which means destiny). The main
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14 theme is the Romance, the myth and the cry of the homeless sailors who sail
15 the seas are recurring themes. However, there are also cheerful and danceable
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17 fados such as the Fado Batido or the “A Rianxeira”.
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35 Figure 3. Representative example of a Fado handwritten sheet music for pìano and voice,
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36 by the Spanish composer and Professor in the Royal Conservatorium of Madrid, Fernando
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38 Moraleda Bellver. Tempo is similar to Fado (4/4) and rhythmically it also oscillates like
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39 waves of the sea.

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42 Although the most notorious singers of this genre are and have been
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women, there are also quality male performers such as Alfredo Marceneiro
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45 and Fernando Farinha or the more recent fadistas Carlos do Carmo and
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47 Camané [31, 32, 33, 34]. On the other hand, the musicians (nearly always
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49 string musicians), are always men. The rhythm of Fados is rocking and
50 pendulous, reminding the waves of the sea (Figure 3). It surrounds the
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52 listener and take him/her to a shared mood trip.
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54 These songs expressed in taverns (Figure 4), voiced the bad
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moments of life through singing, the tragic sense of life, the melancholy, the
57 nostalgia (named “saudade” or “moriña”) and small stories of the daily life
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59 of the humble neighborhoods. But, especially and more traditionally, the
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3 fatalism and the frustration of sailor’s lives, the uncertainty of the sea and
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5 the danger of each crossing to earn the sustenance (fado do marinheiro),
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7 [33]. It is not known with certainty, but there is evidence that this nostalgic
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and deep music with guitars of the time, were originated eight centuries ago,
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10 when the Arabs lived in the hill of the Saint George Castle of Lisbon
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12 (century XIV). The existence of the Fado is verified since 1838 (19th
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14 century), although the mystery of its origins has not yet been unveiled [34].
15 Since 2011 the Fado, popular urban singing of Portugal, was named by
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17 UNESCO as part of the Representative List of Intangible Cultural Heritage
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19 of Humanity (6.COM 13.39).
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38 Figure 4. Painting of oil on canvas by Viktor Schivert in 1900, showing a typical scene in a
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40 tavern of early Fados, the lady singer and the musician playing a mandoline.
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42 Within the genre of Fado sub genres are distinguished such as
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44 Coimbra Fado, The traditional Fado of Coimbra, is related to the academic
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traditions of the University of Coimbra. It is exclusively sung by men. Both
47 the singers and the musicians wear black cloaks and cassocks. The themes
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49 refer to student loves or the city. The style emphasizes the instrumental
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51 component. The best known of the fados of Coimbra is "Coimbra é uma
52 canção” (Coimbra is a song), that had a remarkable success in all Europe.
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54 Interpreted by students from the bourgeois or aristocratic classes of the
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56 nineteenth century, the Fado of Coimbra has always been characterized by a
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higher style, with a raised and more erudite character, but with the same
59 romantic aura. Unrecorded interpreters of this genre would be Hilário Costa
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3 Alves (a medical student at the University of Coimbra; 1864-1896), whose
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5 poems in songs were referred to erudite themes related to the human
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7 condition itself.
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The Flamenco on the other hand, is a musical genre traditionally
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10 from the South of Spain closely related to the Gypsies culture of Romani
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12 (Roma) ethnicity which tries to express the sorrow and pain of many
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14 centuries of marginalization, poverty and persecution but also the cheerful
15 point of view to cope with miseries (Figure 5). Transmission takes place
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17 within dynasties, families, social groups and Flamenco clubs, all of which
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19 are key players in its preservation and dissemination, because Flamenco
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music has traditionally not been written down. It is the product of cross-
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22 hybridization, which happened at the beginning of the XX century, between

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24 the agrarian culture, urban folklore and popular festivals. For Roma
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26 ethnicity communities and in certain regions of Spain flamenco music is
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acquired as a mother tongue. The music and songs are related to their
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29 experiences in family, labor or social context [35]. This music usually took
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31 place in specific places (“colmao” or “tabanco”) and one of its peculiarities
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33 is its ability to sublimate the sorrow, pities, hardships or sacrifices which are
34 link to traditional jobs in the South of Spain (fishing, hunting, harvesting,
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36 mining, salt flats) and only show with the music the happiness and joy of the
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38 active hard-working person. This music expression is able to transcend
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domestic difficulties to make common familiar and social troubles more
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41 bearable, unifying feeling inside whole and entire communities [35].
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59 Figure 5. Oil on canvas named “El Jaleo” by John Singer Sargent in 1882 showing a
60 typical Spanish scene of a woman dancer, several guitar players (“tocaores”) and several
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3 singers (“cantaores”), at the end of XIX century, performing in a colmao or tabanco.
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5 On 16 November 2010, UNESCO declared flamenco one of the
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7 Masterpieces of the Oral and Intangible Heritage of Humanity (5.COM
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9 6.39). Like mostly all the vocabulary and words for definitions this genre
10 uses, they are sui generis, that is, with very pronounced intra cultural traits
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12 and sometimes very different between distinct but close regions. Sometimes
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14 they are incorrect in terms of Spanish grammar or vocabulary (“naide”
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instead of “nadie”, “dirme” instead of “dime”, “curpita” instead of “culpita”,
17 “cormigo” instead of “conmigo”, “muchachaco” instead of “muchacho” no
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19 use of verbs, etc).
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21 It is performed in three dimensions: dance, singing and Spanish
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23 guitar although in some cases contemporary flamenco expression is
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dispensing with Spanish guitar or any other stringed instruments. While the
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26 two formers (dancing and singing) can be successfully expressed both by
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28 men or women, the musicians and guitars are mainly only played by men.
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30 Voices in flamenco use to be located in high register or falsetto and in this
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way, gender vocalization in flamenco sometime is undistinguishable or very
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33 similar inside the soprano register (i.e. that might be, in occasions, the case
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35 between the woman folklore singer Isabel Pantoja and her man cousin
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37 folklore singer Chiquetete).
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39 In the academic line of purity, the poet Federico Garcia Lorca and
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41 the composer Manuel de Falla had the idea of “concurso de cante jondo” in
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Granada, organized in 1921 and celebrated in 1922, which entitle the
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44 Flamenco folklore genre for the first time to have the recognition of Jondo
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46 and international recognition, attempting to protect their deepest artistic
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48 roots such as a high art (alte-arte). Some years later, in 1928, Falla started to
49 suffer pain in his eyes which affected his compositions [6].
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One of the strongest and most original points of the Flamenco is its
53 original rhythm, not always inside the academic and orthodox canons
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55 established by the metronome [36]. Moreover, Flamenco combines three
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57 different artistic expressions: voice, guitar and dance, each of them having
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their own rhythmical patterns and sometimes going in parallel but in
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60 different sequential times (very often the song accompanies the guitar, the
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3 voice walks over the instrument without a rhythmic schema). In some cases
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5 improvisation might happen, as a spontaneous musical expression such as in
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7 Jazz. Although the most characteristic musical time for Flamenco is of 12
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beats divided into two different times: 6/8 and 2/4 (3 + 3 + 2 + 2 + 2) and
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10 sometimes 12/8. Songs usually change the tonality at least once and
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12 compass is also changeable according to lyrics or the structures of the songs.
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14 There are usually three structures: I) an instrumental introduction, II) the
15 core of the song, III) the refrain and IV) the conclusion, which are repeated
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17 twice each of them and twice again the total song, except the conclusion.
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19 Where on those pieces of time the emphasis is focused makes completely
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21 different songs and styles (palos). The rhythm of “Alegrías”
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23 (characteristically marked as “tiriti, tran, tran, tran ….”) is one of the most
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recognizable and well established and it combines this 12 beats with another
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26 12 introductory beats (1, 2, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10// 1, 2, 3, 1, 2, 3, 1, 2, 1,
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28 2, 1, 2). That might be reason why the Flamenco singer Camarón de la Isla
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30 (1958-1992) used to say at the beginning of his performances “I am starting
31 with singing Alegrías and, later on you, the audience, will let me know”
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33 (figure 6).
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Figure 6. Representative examples of a fragment flamenco written music, a Tanguillo from
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58 Cádiz. It is noticeable the beat of this piece is changing from a binary rhythm to a tertiary,
59 finishing in a binary one (introductory instrumental and part of the melody in 4/4, while rest
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12
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3 song composition is made at 6/8 and the end at 4/4). Total of 12 hits subdivision (6/8 and
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4/4). Adapted to piano by the author, Alicia Garcia-Falgueras.
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7 The rhythm in flamenco music is very elastic, not always inside the
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9 conventional scheme of rhythmical framework [36]. Elastic in the meaning
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of being able to change its shape but after a while, returns to its original.
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12 This surprising expression causes constant tension which resolves and
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14 relieves in a sense and provokes reaction on the listeners who follow the
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16 cadence, expressing themselves sometimes saying words such as “olé” or
17 “arsa” at the end of a rhythm group. Those words were originally
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19 instructions coming from the dance incentives clapping, because “olé”
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21 comes from the word ola (wave of the sea), while “arsa” comes from alza
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(raise), meaning both to make body movements in dance [37].
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3. Conclusions
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28 After this brief revision it seems not wrong to affirm the art form of
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30 classical music does not have a clear gender distinction and it might be
31 mainly and ideally focus to intellectual purposes. When differences between
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33 genders occurs in classical music it is usually due to empirical differences in
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35 amplitude of records for sound waves (different voices in choirs). On the
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36
37
other hand, folk and cultural music such as Fado or Flamenco are more
38 gender specific. When singing to love, labors or common troubles happens
iew
39
40 that references to gender differences are more often. In these traditional paths
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42 of music (Fado and Flamenco) the string instruments are always played by
43
male musicians, but singing and dancing in Flamenco, might be performed by
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45 both men or women, being sometimes indistinguishable. The outfit of each
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47 gender during flamenco performances are usually very different and visually
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49 distinguishable. Accordingly to these differences, brain neuroanatomy might
50 also have distinctions between women and men musicians, however, very
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52 little research has been done in the field. The brain areas associate to each
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54 activity involved in folk music have been proved to be different accordingly
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56
to professionalism, but gender was not analyzed: those brain areas related
57 superior temrpoal gyrus and the superior temporal sulcus to watch and
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59 understand the movement of dance are more activated symmetrically in
60
13
1
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3 professional and while listening or singing songs. Further research on the
4
5 brain basis of gender differences would be recommended to a better
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7 understanding of the reasons of those palpable sex differences in folk music
8
in order to improve and amplify the beauty of expression that resides in these
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10 traditional sounds. New areas for research and opportunities to musically
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12 explore gender differences for future research would be recommended.
13
14
15 Credits of Images
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17
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19 Photographs presented in this work come from files with free
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21
license in the public domain as Wikipedia Commons. In cases where
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22 pictures come with an authorship from a published paper, that has been
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24 properly quoted and permission to the correspondence author were asked.
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26
27 Acknowledgements
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We would like to thank to Prof. Swaab at the Netherlands Institute
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31 for Neuroscience for his counselling, supportive reading and ideas provision.
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33 Also to the Centro Andaluz del Flamenco in Xerez (Cadiz) and to the
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35 Biblioteca Nacional de España (Madrid) for providing the scores and music
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36 sheets to study. To the Museu do Fado in Lisboa, for its webpage which
37
38 provides information and musical resources.
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40
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42
43 References
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42 [35] Casas-Mas A, Pozo JI, Montero I. (2022): Oral Tradition as Context for
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44 Learning Music From 4E Cognition Compared With Literacy Cultures. Case
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Studies of Flamenco Guitar Apprenticeship. Front Psychol. 13:733615.
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48 [36] Berlanga, M. A. (2014): La originalidad musical del Flamenco: el compás.
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50 Sinfonía Virtual, Revista de Música y Reflexión Musical, 26: 1- m21.
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52 [37] Falla, M. (1910): Seguidille nº 3 to Madam Claude Debussy. Rouart Lerolle
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54 & Cir. Editors (score).
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31 Fig. 1. Topographic maps of the voltage distribution over the scalp while watching dance performance.
32 Dancer group (left side of the picture) showed bilaterality negative values of voltage over the occipito-
temporal area (blue areas), while non dancers (right side of the picture) only showed that negativity in right
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45 Fig. 2.- Visual representation of the clusters of activation while listening instrumental music (green bar),
46 singing song (red bar) and language speech (grey bar). Three of them are located in the sulcus area, over
47 the temporal lobe. However, those sounds which carry music in their spread, are occupying a significantly
larger area in the sulcus (green and red bars) than speech. With permission Whitehead and Armony, 2018).
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31 Fig. 3.- Representative example of a Fado handwritten sheet music for piano and voice, by the Spanish
32 composer and Professor in the Royal Conservatorium of Madrid, Fernando Moraleda Bellver. Tempo is
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47 instrumental and part of the melody in 4/4, while rest song composition is made at 6/8 and the end at 4/4).
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Neuroscience Insights

Is there any gender in different genres of the art of Music ?

Journal: Neuroscience Insights

Manuscript Type: Perspective

Date Submitted by the

Complete List of Authors: GARCIA-FALGUERAS, ALICIA; Biblioteca Nacional de Espana, Psychology

Neuroanatomy, gender, music, classical music, fado, flamenco, genre,

purposes. Music as a whole is the result of an ancestral non verbal, non

propose that if there is any allusion or reminder about the gender in

occurs in classical music it is usually due to empirical differences in

32 violent and international mode of human expression and communication.

the former is based on the human capacities to produce the further. We

22 (symmetry among hemispheres, motor coordination, concentration on the

36 flexibly rather than emphatically constructed, some listeners might consider

22 Gender in classical music is difficult to perceive.

29 performing artist or interpreter [12]. Measuring some parameters during the

36 statistically significant difference in the speed interpretation of the tempo.

22 activated together with a number of subcortical and different structures such

29 different effect over this brain activation [25]. Metabolically gender

36 [26]. Circadian rhythm have been widely proved to be different among

39 waves of the sea.

22 hybridization, which happened at the beginning of the XX century, between

29 imbalances and balance capability in dance. J Occup Med Toxicol. 3;13:36

39 representation of music and voice as revealed by fMRI. Hum Brain Mapp.

30 century, performing in a colmao or tabanco.

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