This chapter examines early cases of aphasia that include observations of the capacity to sing. Although the majority of these cases were published in the late nineteenth century, earlier reports exist and provide insights into the early thinking about the capacity to sing in aphasia, a topic that continues to the present day. The observation that some patients with aphasia and limited speech output were able to sing the texts of songs inspired scholars to examine the relationship between music and language. Early ideas about the capacity to sing were provided by well-known neurologists, such as John Hughlings Jackson and Adolf Kussmaul. The work of Herbert Spencer about the origins and function of music heavily influenced Jackson and others in their thinking about aphasia. This work also led to an increased interest in understanding music abilities in persons with aphasia and, later, in the brain mechanisms of music. The chapter provides a background as to why there was an interest in the capacity to sing in persons with aphasia and what influenced early thinking on this topic.

This chapter examines connections between research in music, neurology, and psychology during the late-nineteenth century. Researchers in all three disciplines investigated how musicis processed by the brain. Psychologists and comparative musicologists, such as Carl Stumpf, thought in terms of multiple levels of sensory processing and mental representation. Early thinking about music processing can be linked to the start of Gestalt psychology. Neurologistssuch as August Knoblauch also discussed multiple levels of music processing, basing speculation on ideas about language processing. Knoblauch and others attempted to localize musicfunction in the brain. Other neurologists, such as John Hughlings Jackson, discussed a dissociation between music as an emotional system and language as an intellectual system. RichardWallaschek seems to have been the only one from the late-nineteenth century to synthesize ideas from musicology, psychology, and neurology. He used ideas from psychology to explainmusic processing and audience reactions and also used case studies from neurology to support arguments about the nature of music. Understanding the history of this research sheds light on the development of all three discipline —musicology, neurology, and psychology.