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THE OXFORD HANDBOOK OF

MUSIC AND THE BRAIN

THE OXFORD HANDBOOK OF

MUSIC AND THE BRAIN

Edited by
MICHAEL H. THAUT
and
DONALD A. HODGES
 Great Clarendon Street, Oxford, ox2 6dp, United Kingdom

Oxford University Press is a department of the University of Oxford. It furthers the

University’s objective of excellence in research, scholarship, and education by publishing
worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in
certain other countries

© Oxford University Press 2019

The moral rights of the authors have been asserted

First Edition published in 2019

Impression: 1

All rights reserved. No part of this publication may be reproduced, stored in a retrieval
system, or transmitted, in any form or by any means, without the prior permission in
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reproduction outside the scope of the above should be sent to the Rights Department,
Oxford University Press, at the address above

You must not circulate this work in any other form and you must impose this same
condition on any acquirer

Published in the United States of America by Oxford University Press

198 Madison Avenue, New York, NY 10016, United States of America

British Library Cataloguing in Publication Data

Data available

Library of Congress Control Number: 2019943710

ISBN 978–0–19–880412–3
ebook ISBN 978–0–19–252613–7

Printed and bound by CPI Group (UK) Ltd, Croydon, cr0 4yy

Links to third party websites are provided by Oxford in good faith and for information only.
Oxford disclaims any responsibility for the materials contained in any third party website
referenced in this work.
 Table of Contents

List of Contributors

SECTION I INTRODUCTION

1. The Neuroscientific Study of Music: A

Burgeoning Discipline
Donald A. Hodges and Michael H. Thaut

SECTION II MUSIC, THE BRAIN, AND

CULTURAL CONTEXTS

2. Music Through the Lens of Cultural

Neuroscience
Donald A. Hodges

3. Cultural Distance: A Computational Approach to

Exploring Cultural Influences on Music Cognition
Steven J. Morrison, Steven M. Demorest, and Marcus T. Pearce

4. When Extravagance Impresses: Recasting

Esthetics in Evolutionary Terms
 Bjorn Merker

SECTION III MUSIC PROCESSING IN THE

HUMAN BRAIN

5. Cerebral Organization of Music Processing

Thenille Braun Janzen and Michael H. Thaut

6. Network Neuroscience: An Introduction to

Graph Theory Network-Based Techniques for
Music and Brain Imaging Research
Robin W. Wilkins

7. Acoustic Structure and Musical Function: Musical

Notes Informing Auditory Research
Michael Schutz

8. Neural Basis of Rhythm Perception

Christina M. Vanden Bosch der Nederlanden, J. Eric T. Taylor, and

Jessica A. Grahn

9. Neural Basis of Music Perception: Melody,

Harmony, and Timbre
Stefan Koelsch

10. Multisensory Processing in Music

Frank Russo
SECTION IV NEURAL RESPONSES TO MUSIC:
COGNITION, AFFECT, LANGUAGE

11. Music and Memory

Lutz Jäncke

12. Music and Attention, Executive Function, and

Creativity
Psyche Loui and Rachel E. Guetta

13. Neural Correlates of Music and Emotion

Patrik N. Juslin and Laura S. Sakka

14. Neurochemical Responses to Music

Yuko Koshimori

15. The Neuroaesthetics of Music: A Research

Agenda Coming of Age
Elvira Brattico

16. Music and Language

Daniele Schön and Benjamin Morillon

SECTION V MUSICIANSHIP AND BRAIN

FUNCTION

17. Musical Expertise and Brain Structure: The

Causes and Consequences of Training
Virginia B. Penhune
18. Genomics Approaches for Studying Musical
Aptitude and Related Traits
Irma Järvelä

19. Brain Research in Music Performance

Eckart Altenmüller, Shinichi Furuya, Daniel S. Scholz, and Christos
I. Ioannou

20. Brain Research in Music Improvisation

Michael G. Erkkinen and Aaron L. Berkowitz

21. Neural Mechanisms of Musical Imagery

Timothy L. Hubbard

22. Neuroplasticity in Music Learning

Vesa Putkinen and Mari Tervaniemi

SECTION VI DEVELOPMENTAL ISSUES IN

MUSIC AND THE BRAIN

23. The Role of Musical Development in Early

Language Acquisition
Anthony Brandt, Molly Gebrian, and L. Robert Slevc

24. Rhythm, Meter, and Timing: The Heartbeat of

Musical Development
Laurel J. Trainor and Susan Marsh-Rollo
25. Music and the Aging Brain
Laura Ferreri, Aline Moussard, Emmanuel Bigand, and Barbara
Tillmann

26. Music Training and Cognitive Abilities:

Associations, Causes, and Consequences
Swathi Swaminathan and E. Glenn Schellenberg

27. The Neuroscience of Children on the Autism

Spectrum with Exceptional Musical Abilities
Adam Ockelford

SECTION VII MUSIC, THE BRAIN, AND HEALTH

28. Neurologic Music Therapy in Sensorimotor

Rehabilitation
Corene Thaut and Klaus Martin Stephan

29. Neurologic Music Therapy for Speech and

Language Rehabilitation
Yune S. Lee, Corene Thaut, and Charlene Santoni

30. Neurologic Music Therapy Targeting Cognitive

and Affective Functions
Shantala Hegde

31. Musical Disorders

Isabelle Royal, Sébastien Paquette, and Pauline Tranchant
32. When Blue Turns to Gray: The Enigma of
Musician’s Dystonia
David Peterson and Eckart Altenmüller

SECTION VIII THE FUTURE

33. New Horizons for Brain Research in Music

Michael H. Thaut and Donald A. Hodges

Index
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 List of Contributors

Eckart Altenmüller, Institute of Music Physiology and Musicians’ Medicine

(IMMM), University of Music, Drama and Media, Germany
Aaron L. Berkowitz, Department of Neurology, Brigham and Women’s Hospital,
Harvard Medical School, USA
Emmanuel Bigand, CNRS, UMR5022, Laboratoire d’Etude de l’Apprentissage et
du Développement, Université de Bourgogne, France and Institut Universitaire de
France, France
Anthony Brandt, The Shepherd School of Music, USA
Elvira Brattico, Center for Music in the Brain (MIB), Department of Clinical
Medicine, Aarhus University, Denmark and The Royal Academy of Music,
Aarhus/Aalborg, Denmark
Thenille Braun Janzen, Music and Health Science Research Collaboratory
(MaHRC), University of Toronto, Canada
Steven M. Demorest, Northwestern University, USA
Michael G. Erkkinen, Department of Neurology, Brigham and Women’s Hospital,
USA
Laura Ferreri, Cognition and Brain Plasticity Group, Bellvitge Biomedical Research
Institute, Hospitalet de Llobregat, Barcelona and Department of Cognition,
Development and Educational Psychology, University of Barcelona, Spain.
Laboratoire d’Etude des Mécanismes Cognitifs, Université Lumière Lyon 2, 69676
Lyon, France
Shinichi Furuya, Sony Computer Science Laboratories Inc., Japan
Molly Gebrian, University of Wisconsin-Eau Claire, Department of Music and
Theatre Arts, USA
Jessica A. Grahn, Brain and Mind Institute, Western University, Canada
Rachel E. Guetta, The National Center for PTSD, VA Boston Healthcare System,
USA
Shantala Hegde, Clinical Neuropsychology and Cognitive Neuroscience Center
and Music Cognition Laboratory, Department of Clinical Psychology, National
Institute of Mental Health and Neurosciences, Bengaluru, India
Donald A. Hodges, University of North Carolina at Greensboro, USA
Timothy L. Hubbard, Arizona State University, USA and Grand Canyon
University, USA
Christos I. Ioannou, Institute of Music Physiology and Musicians’ Medicine
(IMMM), University of Music, Drama and Media, Germany
Lutz Jäncke, Division of Neuropsychology, Institute of Psychology, University of
Zurich, Switzerland
Irma Järvelä, Department of Medical Genetics, University of Helsinki, Finland
Patrik N. Juslin, Department of Psychology, Uppsala University, Sweden
Stefan Koelsch, Department for Biological and Medical Psychology, University of
Bergen, Norway
Yuko Koshimori, Music and Health Research Collaboratory (MaHRC), University
of Toronto, Canada
Yune S. Lee, Department of Speech and Hearing Science, The Ohio State
University, USA
Psyche Loui, Northeastern University, USA
Susan Marsh-Rollo, Auditory Development Lab, McMaster University, Canada
Bjorn Merker, Independent Scholar, Kristianstad, Sweden
Benjamin Morillon, Institut de Neurosciences des Systèmes, Aix-Marseille
Université & INSERM, Marseille, France
Steven J. Morrison, University of Washington, USA
Aline Moussard, Centre de Recherche de l’Institut Universitaire de Gériatrie de
Montréal (CRIUGM), Canada
Adam Ockelford, School of Education, University of Roehampton, London, UK
Sébastien Paquette, International Laboratory for Brain, Music and Sound
Research (BRAMS), Université de Montréal, Québec, Canada
Marcus T. Pearce, Queen Mary University of London, UK and Aarhus University,
Denmark
Virginia B. Penhune, Department of Psychology Concordia University, Canada
David Peterson, Institute for Neural Computation, University of California San
Diego, USA
Vesa Putkinen, Turku PET Centre, University of Turku, Turku, Finland
Isabelle Royal, Département de psychologie, Université de Montréal, Québec,
Canada
Frank Russo, Ryerson University, Canada
Laura S. Sakka, Department of Psychology, Uppsala University, Sweden
Charlene Santoni, Faculty of Music, University of Toronto, Canada
E. Glenn Schellenberg, Department of Psychology, University of Toronto
Mississauga, Canada
Daniel S. Scholz, Institute of Music Physiology and Musicians’ Medicine (IMMM),
University of Music, Drama and Media, Germany
Daniele Schön, Institut de Neurosciences des Systèmes, Aix-Marseille Université
& INSERM, France
Michael Schutz, Institute for Music and the Mind, McMaster University, Canada
L. Robert Slevc, Department of Psychology, University of Maryland, USA
Klaus Martin Stephan, SRH Gesundheitszentrum Bad Wimpfen, Germany
Swathi Swaminathan, Rotman Research Institute, Baycrest Health Sciences,
Canada
J. Eric T. Taylor, Brain and Mind Institute, Western University, Canada
Mari Tervaniemi, Cognitive Brain Research Unit, Department of Psychology and
Logopedics, Faculty of Medicine, University of Helsinki, Helsinki, Finland and Cicero
Learning, Faculty of Educational Sciences, University of Helsinki, Helsinki, Finland
Corene Thaut, Faculty of Music, University of Toronto, Canada
Michael H. Thaut, Music and Health Science Research Collaboratory (MaHRC),
University of Toronto, Canada
Barbara Tillmann, CNRS, Lyon Neuroscience Research Center, Auditory Cognition
and Psychoacoustics team, France and University of Lyon, France
Laurel J. Trainor, Department of Psychology, Neuroscience & Behavior, McMaster
University, Canada
Pauline Tranchant, Département de psychologie, Université de Montréal,
Canada
Christina M. Vanden Bosch der Nederlanden, Brain and Mind Institute,
Western University, Canada
Robin W. Wilkins, University of North Carolina at Greensboro, USA
 SECTION I

I N T R OD UC T I ON
 CHAPTER 1

THE NEUROSCIENTIFIC
STUDY OF MUSIC: A
BURGEONING DISCIPLINE

DO N AL D A. H O DGES AND MICHAEL H. THAUT

Introduction

This book is the result of a considerable amount of effort by fifty-four

authors from thirteen countries. Beyond that, it represents the work
of hundreds of researchers over the past fifty years or so. The
neuroscientific study of music, or neuromusical research as it may be
called, has grown and expanded significantly over several decades.
The purpose of this chapter is twofold. The first portion provides a
brief historical perspective on music and neuroscience. The second
presents an overview of the eight sections and thirty-three chapters
of this book.

Vignettes from a Burgeoning

Discipline
Space limitations do not permit a detailed historical overview of
neuromusical research. Rather, the intent is to provide glimpses of
early, pioneering efforts. In 1977, R. A. Henson included historical
notes on neuromusical research in the ground-breaking book on
music and the brain he edited along with Macdonald Critchley
(Critchley & Henson, 1977). John Brust (2003) also provided a
historical perspective. More recently, Eckart Altenmüller, Stanley
Finger, and François Boller edited a two-volume set on music,
neurology, and neuroscience (2015a, 2015b) that provides far
greater depth and detail. The first volume focuses on historical
connections and perspectives and the second on evolution, the
musical brain, and medical conditions and therapies. From these and
other sources, here are a few glimpses into the growing field of
music–brain research.

• Franz Joseph Gall (1758–1828), the founder of phrenology,

identified music as one of the twenty-seven faculties of the
mind (Elling, Finger, & Whitaker, 2015); in Fig. 1, you can see
the music faculty, listed as Tune, just above the eye. Among
many others who pursued this notion, Madam Luise Cappiani
(1901) gave an address at the American Institute of
Phrenology in which she discussed phrenology, physiology, and
psychology in connection with music and singing.
• In the 1860s and 1870s, British neurologist John Hughlings
Jackson (1835–1911) made cogent observations about children
who could not speak but who could sing (Lorch & Greenblatt,
2015). Speaking of one speechless child, Jackson said, “It is
worthy of remark that when he sings he can utter certain
words … but he can only do so while singing” (Jackson, 1871,
p. 430). By 1888, German neurologist August Knoblauch
(1863–1919) had coined the term “amusia” (Graziano &
Johnson, 2015) and created a model with five music centers:
an auditory center for the perception of musical tones, a motor
center for musical production, an idea center for the analysis
and comprehension of music, a visual system for reading
 musical notation, and a motor system for writing musical
notation (Johnson & Graziano, 2003). Damage to any of these
five centers could lead to nine disorders, grouped into
perception or production impairments. Richard Wallaschek
(1860–1917), John Edgren (1849–1929), and others also
investigated the loss of musical abilities in relation to brain
function (Henson, 1977).
• The first encephalographic (EEG) recording in humans was
made by Hans Berger in 1924 (Haas, 2003). Less than twenty-
five years later, researchers were studying musicogenic
epilepsy by means of EEG (Shaw & Hill, 1947). By the mid-
1970s, investigators were utilizing event-related potentials
(ERPs) in relation to music (Schwent, Snyder, and Hillyard,
1976). They found N100 responses (negative waves peaking
between 80 and 120 ms after the onset of a stimulus)
reflecting pre-attentive perception of pitch changes.
• In 1981, Roland, Skinhøj, and Lassen asked participants to
make same-different judgments on tone-rhythm patterns taken
from the Seashore Tests of Musical Talent while undergoing
positron emission tomography (PET) scans. They found
widespread activations, including differences between left and
right hemispheric processing.
• Roland Beisteiner reported on three experiments conducted in
Vienna in 1995 in which he used functional magnetic
resonance imaging (fMRI), along with direct current EEG (DC-
EEG) and magnetoencephalography (MEG), to demonstrate the
viability of these methods in the study of music. Finger and
hand movements, approximating those used in playing the
piano, elicited strong activations in primary and supplementary
motor cortices. Since that time, fMRI has become a
predominant methodology in neuromusical research.
• Recent years have seen the development of several additional
methodologies, including transcranial magnetic stimulation
(TMS), voxel based morphometry (VBM), tensor based
morphometry (TBM), diffusion tensor imaging (DTI), and
genomics approaches. Also, new data analysis techniques are
being developed, such as network science (described by
Wilkins, this volume).
FIGURE 1. A phrenological map of the brain. Music is listed as “Tune” and
appears just above the eye.
Source: By William Walker Atkinson, 1862–1932 [No restrictions], via Wikimedia
Commons.
https://upload.wikimedia.org/wikipedia/commons/7/71/How_to_know_human_natur
e-_its_inner_states_and_outer_forms_%281919%29_%2814784651435%29.jpg

From these earliest explorations into music and the brain,

neuromusical research has exploded in recent decades, as indicated
in Fig. 2. What began as fledgling, pioneering efforts from the 1940s
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to the 1960s has burgeoned into a relative flood of publications in
the 2000s.

FIGURE 2. The number of published articles obtained from a simple “music and
brain” search in PubMed (https://www.ncbi.nlm.nih.gov/pubmed/).

Given their variety and ubiquity, human musical experiences are

complex and mysterious. Philosophers, ethnomusicologists, music
theorists, and many others have spilled countless barrels of ink
trying to explicate the phenomenon of music. Why do we respond to
music so powerfully? What does it mean? Why do we have it at all?
Explaining how music “works” in the human brain is no less
daunting. Of necessity, neuroscientists frequently take a reductionist
approach (Bickle, 2003; Krakauer, Ghazanfar, Gomez-Marin, MacIver,
& Poeppel, 2017). Findings from work going on at one level (e.g.,
networks) are not necessarily integrated into work at another level
(e.g., genomics). Furthermore, results are often parsed according to
methodology (e.g., fMRI and ERP). As stated, some of this is of
necessity; after all, notions derived from activations generated
across 30 minutes of music listening and monitored by fMRI are not
immediately compatible with results from an experimental design
with musical stimuli of just a few seconds as recorded by MEG.
 To avoid a crazy-quilt, scattershot view of music, broad overviews
attempting to blend disparate findings have appeared from time to
time in the literature. Whether in articles (e.g., Peretz & Zatorre,
2005; Warren, 2008), chapters (e.g., Marin & Perry, 1999; Schlaug,
2003), or books (e.g., Critchley & Henson, 1977; Koelsch, 2012),
these reviews are critically important in moving us toward a more
coherent, unified understanding of music in the brain. There are
certain advantages to having a singular view of one or two authors,
or even in focusing the discussion in a limited word count. The
present volume, on the other hand, has strengths in the diversity
and expertise of fifty-four authors who have written approximately
350,000 words on music and neuroscience. In the next portion of
this chapter, we provide an overview of their thirty-three chapters.
 Chapter Overviews

As this introductory chapter comprises the first section, these

overviews will concentrate on sections II through VIII.

II. Music, the Brain, and Cultural Contexts

2. Music through the lens of cultural neuroscience, Donald A.
Hodges.
3. Cultural distance: A computational approach to exploring
cultural influences on music cognition, Steven J. Morrison,
Steven M. Demorest, and Marcus T. Pearce.
4. When extravagance impresses: Recasting esthetics in
evolutionary terms, Bjorn Merker.

The three chapters in Section II aim to put the neuroscientific

study of music into a larger cultural context. First, Donald Hodges
revisits a long-standing notion that musical experiences have both
biological and cultural underpinnings. Biology and culture are so
intertwined that there is no clear way to separate the two, and no
need to, either. Rather, the new field of cultural neuroscience
provides increased understanding of how biological and cultural
aspects constrain and enhance each other. Next, Steven Morrison,
Steven Demorest, and Marcus Pearce present a model of cultural
distance, a computational means of determining how closely the
music from disparate cultures relate. Unfamiliar music whose
statistical patterns of pitch and rhythm closely approximate one’s
own may be easier to process than music with widely divergent
patterns. Such a model may be useful in future neuroimaging studies
of cross-cultural music processing. In the final chapter in this
section, Bjorn Merker presents a persuasive argument that our
human aesthetic responses to music arise from elements at play in
the development of large and complex birdsong repertoires.
Responses among birds may range from boredom to
interest/curiosity. In humans, a hedonic reversal leads to being
impressed, being moved, or to awe and sublimity at the extreme.
Taken together, these three chapters remind us that findings from
the neuroscientific study of music must always be placed into
broader cultural contexts in order for a full and complete
understanding.

III. Music Processing in the Human Brain

5. Cerebral organization of music processing, Thenille Braun
Janzen and Michael H. Thaut.
6. Network neuroscience: An introduction to graph theory
network-based techniques for music and brain imaging
research, Robin W. Wilkins.
7. Acoustic structure and musical function: Musical notes
informing auditory research, Michael Schutz.
8. Neural basis of rhythm perception, Christina M. Vanden
Bosch der Nederlanden, J. Eric T. Taylor, and Jessica A.
Grahn.
9. Neural basis of music perception: Melody, harmony, and
timbre, Stefan Koelsch.
10. Multisensory processing in music, Frank Russo.

Authors in Section III explore what we know about how music is

processed in the human brain. Thenille Braun Janzen and Michael
Thaut present an organizational scheme based upon ascending
auditory pathways, auditory-frontal networks, auditory-motor
networks, and auditory-limbic networks. The most advanced
research has moved beyond what parts of the brain are involved at
specific points in the processing stream and are beginning to look
increasingly at how these various brain regions interact in real time.
The complexity of music processing, involving aspects such as
preference, socio-cultural contexts, musical expertise, and so on,
poses a daunting challenge but substantial process is being made.
One advancement, according to Robin Wilkins, is network science,
which utilizes graph theory techniques and analysis as a means of
understanding structural and functional connectivity in the brain.
Network science moves us closer to learning how the brain
communicates with itself in the dynamic process of responding to
music. A further advantage may be that it allows for monitoring task
performance during much longer music listening conditions than
brief excerpts. Michael Schutz continues the discussion in the next
chapter with a more fine-grained examination of how micro-timing
changes in musical stimuli are processed in the brain as music
unfolds over time. Constant, rapid fluctuations in overtone spectra
require sophisticated neural tracking mechanisms. Indeed, one of
the deficiencies of early synthesized music, and to some extent
some auditory perception research, is a lack of ecological validity in
terms of temporally invariant musical stimuli.
In the next chapter, Christina Vanden Bosch der Nederlanden, J.
Eric T. Taylor, and Jessica Grahn provide an overview of the research
on how the brain processes and produces musical rhythms. Auditory-
motor networks are particularly important in beat finding and other
rhythmic processes. Our brain’s ability to perceive and produce
rhythms has wide-ranging implications for many aspects of human
behavior. Stefan Koelsch expands the discussion into an examination
of the neural underpinnings of melodic, harmonic, and timbral
perception. Numerous and widespread brain regions are involved in
processing music. Because infants and individuals without formal
music training can process melody, harmony, and timbre
successfully, musicality is clearly a natural ability of the human brain.
Although much of the extant research focuses on particular
sensory modalities, ultimately a more ecologically valid
understanding arises from the integration of multiple sensory inputs
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REMARKS OF THE
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——

3 P. M., MAY 20, 1921

WASHINGTON
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In doing honor to you we testify anew our pride in the ancient
friendships which have bound us to both the country of your adoption and
that of your nativity. We exalt anew our pride that we have stood with them
in the struggle for civilization, and have touched elbows with them in the
march of progress.
It has been your fortune, Madame Curie, to accomplish an immortal
work for humanity. We are not without understanding of the trials and
sacrifices which have been the price of your achievement. We know
something of the fervid purpose and deep devotion which inspired you. We
bring to you the meed of honor which is due to preeminence in science,
scholarship, research, and humanitarianism. But with it all we bring
something more. We lay at your feet the testimony of that love which all the
generations of men have been wont to bestow upon the noble woman, the
unselfish wife, the devoted mother. If, indeed, these simpler and commoner
relations of life could not keep you from great attainments in the realms of
science and intellect, it is also true that the zeal, ambition, and unswerving
purpose of a lofty career could not bar you from splendidly doing all the
plain but worthy tasks which fall to every woman’s lot.
A number of years ago a reader of one of your earlier works on radio-
active substances noted the observation that there was much divergence of
opinion as to whether the energy of radio-active substances is created
within those substances themselves, or is gathered to them from outside
sources, and then diffused from them. The question suggested an answer
which is doubtless hopelessly unscientific. I have liked to believe in an
analogy between the spiritual and the physical world. I have been very sure
that that which I may call the radio-active soul, or spirit, or intellect—call it
what you choose—must first gather to itself, from its surroundings, the
power that it afterwards radiates in beneficence to those near it. I believe it
is the sum of many inspirations, borne in on great souls, which enables
them to warm, to scintillate, to radiate, to illumine and serve those about
them. I am so sure of this explanation for the radio-active personality that I
feel somehow a conviction that science will one day establish a like
explanation for radioactivity among inanimate substances.
Perhaps, in my innocence of science, I am airily rushing in where
scientists fear to tread. But I am trying to express to you my conviction that
the great things achieved by great minds would never have been wrought
without the inspiration of an appealing need for them. That appeal comes as
inspiration to successful effort, and success in turn enables the outgiving of
benefits to millions whose only contribution has been the power of their
united appeal.
Let me press the analogy a little farther. The world to-day is appealing to
its statesmen, its sociologists, its humanitarians, and its religious leaders for
solution of appalling problems. I want to hope that the power and
universality of that appeal will inspire strong, devout, consecrated men and
women to seek out the solution, and, in the light of their wisdom, to carry it
to all mankind. I have faith to believe that precisely that will happen; and in
your own career of fine achievement I find heartening justification for my
faith.
In testimony of the affection of the American people, of their confidence
in your scientific work, and of their earnest wish that your genius and
energy may receive all encouragement to carry forward your efforts for the
advance of science and conquest of disease, I have been commissioned to
present to you this little phial of radium. To you we owe our knowledge and
possession of it, and so to you we give it, confident that in your possession
it will be the means further to unveil the fascinating secrets of nature, to
widen the field of useful knowledge, to alleviate suffering among the
children of man. Take it to use as your wisdom shall direct and your
purpose of service shall incline you. Be sure that we esteem it but a small
earnest of the sentiments for which it stands. It betokens the affection of one
great people for another. It will remind you of the love of a grateful people
for yourself; and it will testify in the useful work to which you will devote
it, the reverence of mankind for one of its foremost benefactors and most
beloved of women.
*** END OF THE PROJECT GUTENBERG EBOOK REMARKS OF THE
PRESIDENT IN PRESENTING TO MADAM CURIE A GIFT OF RADIUM
FROM THE AMERICAN PEOPLE ***

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