The aim of the psychology of music is to understand musical phoneomena in terms of mental functions--to characterize the ways in which one perceives, remembers, creates, and performs music. Since the First Edition of The Psychology of Music was published the field has emerged from an interdisciplinary curiosity into a fully ramified subdiscipline of psychology due to several factors. The opportunity to generate, analyze, and transform sounds by computer is no longer limited to a few researchers with access to large multi-user facilities, but rather is available to individual investigators on a widespread basis. Second, dramatic advances in the field of neuroscience have profoundly influenced thinking about the way that music is processed in the brain. Third, collaborations between psychologists and musicians, which were evolving at the time the first edition was written, are now quite common; to a large extent now speaking a common language and agreeing on basic philosophical issues.
The Psychology of Music, Second Edition has been completely revised to bring the reader the most up-to-date information, additional subject matter, and new contributors to incorporate all of these important variables. The book is intended as a comprehensive reference source for both musicians and psychologists.
@introbul:Key Features @bul:* Concert Halls: From Magic to Number Theory
- Music and the Auditory System
- The Perception of Musical Tones
- The Perception of Singing
- Intervals, Scales, and Tuning
- Absolute Pitch
- Grouping Mechanisms in Music
- Processing of Pitch Combinations
- Neural Nets, Temporal Composites and Tonality
- Hierarchical Expectation and Musical Style
- Rhythm and Timing in Music
- Music Performance
- The Development of Music Perception and Cognition
- Musical Ability
- Neurological Aspects of Music Perception and Performance
- Comparative Music Perception and Cognition
Graduate and professional psychologists interested in cognition, information processing, and music. Musicologists and theoreticians.
J.R. Pierce, The Nature of Musical Sound.
M.R. Schroede, Concert Halls: From Magic to Number Theory.
N.M. Weinberger, Music and the Auditory System.
R. Rasch and R. Plomp, The Perception of Musical Tones.
J.C. Risset and D.L. Wessel, Exploration of Timbre by Analysis and Synthesis.
J. Sundberg, The Perception of Singing.
E.M. Burns, Intervals, Scales, and Tuning.
W.D. Ward, Absolute Pitch.
D. Deutsch, Grouping Mechanisms in Music.
D. Deutsch, Processing of Pitch Combinations.
J.J. Bharucha, Neural Nets, Temporal Composites and Tonality.
E. Narmour, Hierarchical Expectation and Musical Style.
A. Gabrielsson, Music Performance.
W.J. Dowling, The Development of Music Perception and Cognition.
R. Shuter-Dyson, Musical Ability.
O.S.M. Marin and D.W. Perry, Neurological Aspects of Music Perception and Performance.
E.C. Carterette and R.A. Kendall, Comparative Music Perception and Cognition. Subject Index.
- No. of pages:
- © Academic Press 1999
- 21st September 1998
- Academic Press
- eBook ISBN:
- Hardcover ISBN:
University of California, San Diego, U.S.A.
"Chapter titles show continuing interest in many of the traditional topics--rhythm, melody, scales, musical ability, the nature of sound--and also in newer areas of inquiry, e.g., the neuropsychological study of musical perception. The editor has succeeded admirably in making this edition a valuable and timely resource for musicians and psychologists at the upper-division undergraduate level and above." @source:--CHOICE, reviewed by W. M. Bigham, Emeritus, Morehead State University, March 1999