The Psychology of Music
3rd Edition
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Table of Contents
List of Contributors
Preface
1. The Perception of Musical Tones
I Introduction
II Perception of Single Tones
III Perception of Sound Combinations
IV Conclusions and Outlook
Acknowledgments
References
2. Musical Timbre Perception
I Psychophysics of Timbre
II Timbre as a Vehicle for Source Identity
III Timbre as a Structuring Force in Music Perception
IV Concluding Remarks
Acknowledgments
References
3. Perception of Singing
I Introduction
II Voice Function
III Phonation
IV Resonance
V Intensity and Masking
VI Aspects of Voice Timbre
VII Vibrato
VIII Intonation in Practice
IX Expression
X Concluding Remarks
References
4. Intervals and Scales
I Introduction
II Pitch Intervals
III Scales and Tuning Systems
IV Overview
Acknowledgments
References
5. Absolute Pitch
I Introduction
II Implicit AP
III Genesis of AP
IV AP and Speech Processing
V AP and Pitch Processing
VI Neuroanatomical Substrates of AP
VII AP Accuracy and Stimulus Characteristics
VIII Pitch Shifts in AP Possessors
IX AP in Special Populations
X Conclusion
Acknowledgments
References
6. Grouping Mechanisms in Music
I Introduction
II Fusion and Separation of Spectral Components
III Larger-Scale Groupings
IV Auditory Streaming and Implied Polyphony
V Grouping and Phrase Structure
VI Grouping of Simultaneous Tone Sequences
VII Grouping of Equal-Interval Tone Complexes
VIII Relationships to Music Theory and Practice
Acknowledgments
References
7. The Processing of Pitch Combinations
I Introduction
II Feature Abstraction
III Abstraction of Higher-Order Shapes
IV The Organization of Short-Term Memory for Tones
V Paradoxes Based on Pitch Class
VI Illusory Transformation from Speech to Song
VII Conclusion
Acknowledgments
References
8. Computational Models of Music Cognition
I Introduction
II Models of Key-Finding
III Models of Meter-Finding
IV Other Aspects of Perception
V Models of Musical Experience
VI Models of Performance
VII Models of Composition
VIII Conclusions
Acknowledgment
References
9. Structure and Interpretation of Rhythm in Music
I Introduction
II Overview: Decomposing the Rhythmic Signal
III Structure and Interpretation: Visualizing Rhythm Space
IV Rhythmic Pattern: Representation
V Rhythmic Pattern and Timing: Categorization
VI Metrical Structure
VII Tempo and Timing: Perceptual Invariance
VIII Rhythm and Movement: Embodied Cognition
Acknowledgments
References
10. Music Performance: Movement and Coordination
I Introduction
II Movement in Performance
III Ensemble Performance
IV Summary
Acknowledgments
References
11. Musical Development
I Origins of Music
II Musical Development in a Social Context
III Musical Enculturation and Critical Periods for Musical Acquisition
IV Music Production: Development of Singing
V Effects of Formal Music Training on Musical Development
VI Interactions between Music Experience and Nonmusical Abilities
VII General Conclusions
Acknowledgments
References
12. Music and Cognitive Abilities
I Introduction
II Music Aptitude and Cognitive Abilities
III Cognitive Abilities after Listening to Music
IV Background Music and Cognitive Abilities
V Music Training and Cognitive Abilities
VI Conclusions
Acknowledgments
References
13. The Biological Foundations of Music: Insights from Congenital Amusia
I Congenital Amusia
II Pitch Is Special
III Right Frontotemporal Connectivity Is Key
IV Music Genes
V Limited Plasticity
VI Conclusions
Acknowledgments
References
14. Brain Plasticity Induced by Musical Training
I Introduction
II Behavioral Studies: The Effects of Musical Training on Cognitive Performance
III Imaging Studies: The Effects of Musical Training on Brain Organization
IV Auditory-Motor Interactions Underlie Music and Language Learning
V Music-based Treatments to Modulate Brain Plasticity: Melodic Intonation Therapy and Auditory-Motor Mapping Training
VI Concluding Remarks
Acknowledgments
References
15. Music and Emotion
I History
II Emotion Theory
III Perception of Emotion
IV Arousal of Emotion
V Themes in Current Research
VI Implications and Outlook
References
16. Comparative Music Cognition: Cross-Species and Cross-Cultural Studies
I Introduction
II Cross-Species Studies
III Cross-Cultural Studies
IV Conclusion
Acknowledgments
References
17. Psychologists and Musicians: Then and Now
I Helmholtz and Basevi in the 1860s
II Seashore and Kurth in the 1920s
III Francès and Meyer in the 1950s
IV Psychologists and Musicians Today
V A Continuing Challenge
References
Author Index
Subject Index
Description
The Psychology of Music serves as an introduction to an interdisciplinary field in psychology, which focuses on the interpretation of music through mental function. This interpretation leads to the characterization of music through perceiving, remembering, creating, performing, and responding to music. In particular, the book provides an overview of the perception of musical tones by discussing different sound characteristics, like loudness, pitch and timbre, together with interaction between these attributes. It also discusses the effect of computer resources on the psychological study of music through computational modeling. In this way, models of pitch perception, grouping and voice separation, and harmonic analysis were developed. The book further discusses musical development in social and emotional contexts, and it presents ways that music training can enhance the singing ability of an individual. The book can be used as a reference source for perceptual and cognitive psychologists, neuroscientists, and musicians. It can also serve as a textbook for advanced courses in the psychological study of music.
Key Features
- Encompasses the way the brain perceives, remembers, creates, and performs music
- Contributions from the top international researchers in perception and cognition of music
- Designed for use as a textbook for advanced courses in psychology of music
Readership
Musicians; psychologists; students interested in and studying the psychology of music.
Details
- No. of pages:
- 786
- Language:
- English
- Copyright:
- © Academic Press 2012
- Published:
- 29th October 2012
- Imprint:
- Academic Press
- Paperback ISBN:
- 9780123814609
- eBook ISBN:
- 9780123814616
Reviews
"The editor has succeeded admirably in making…a valuable and timely resource for musicians and psychologists…" CHOICE
"I have… several dozen excellent books about music perception and cognition, but none is more dog-eared or more used than the Psychology of Music… The first edition's influence on the field makes a compelling argument for the purchase of this updated and revised version, certain to be a blueprint for new research and a leading resource for many years to come." MUSIC PERCEPTION
"The attributes of the book are thoroughness, authority and clarity. That one volume can so adeptly select, draw on, arrange, assess, amplify its material and invite the reader to draw meaningful and reliable conclusions relevant to his/her love of music is a huge achievement. That the book does so with apposite and well-adduced illustrations while at the same time blending technical and specialist accuracy with accessibility is remarkable. Thoroughness and interest, a refreshing amalgam of (the authors') enthusiasm with their collective and individual command of the literature and practices in the field(s) of each make it nothing short of superb as a reference (to be consulted) and a narrative (to be read from cover to cover) by lovers of serious music of all types." – EXCERPT BY MARK SEALEY for www.classicalnet.com
Ratings and Reviews
About the Editor

Diana Deutsch
Affiliations and Expertise
University of California, San Diego, U.S.A.
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