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The fifth edition of Psychological Foundations of Musical Behavior appears at a time of continuing worldwide anxiety and turmoil. We have learned a lot about human musical behavior, and we have some understanding of how music can meet diverse human needs. In this exceptional new edition, the authors have elected to continue a “one volume” coverage of a broad array of topics, guided by three criteria: The text is comprehensive in its coverage of diverse areas comprising music psychology; it is comprehensible to the reader; and it is contemporary in its inclusion of information gathered in recent years. Chapter organization recognizes the traditional and more contemporary domains, with special emphases on psychoacoustics, musical preference, learning, and the psychological foundations of rhythm, melody, and harmony. Following the introductory preview chapter, the text examines diverse views of why people have music and considers music’s functions for individuals, its social values, and its importance as a cultural phenomenon. “Functional music” and music as a therapeutic tool is discussed, including descriptions and relationships involving psychoacoustical phenomena, giving considerable attention to perception, judgment, measurement, and physical and psychophysical events. Rhythmic behaviors and what is involved in producing and responding to rhythms are explored. The organization of horizontal and vertical pitch, tonality, scales, and value judgments, as well as related pedagogical issues are also considered. The basic aspects of musical performance, improvisation, composition, existing musical preferences and tastes, approaches to studying the affective response to music with particular emphasis on developments in psychological aesthetics are examined. The text closely relates the development and prediction of musical ability, music learning as a form of human learning, and music abnormalities, concluding with speculation regarding future research directions. The authors offer their latest review of aspects of human musical behavior with profound recognition of music’s enduring values.
A state-of-the-art overview of the latest theory and research in music psychology, written by leaders in the field. This authoritative, landmark volume offers a comprehensive state-of-the-art overview of the latest theory and research in music perception and cognition. Eminent scholars from a range of disciplines, employing a variety of methodologies, describe important findings from core areas of the field, including music cognition, the neuroscience of music, musical performance, and music therapy. The book can be used as a textbook for courses in music cognition, auditory perception, science of music, psychology of music, philosophy of music, and music therapy, and as a reference for researchers, teachers, and musicians. The book's sections cover music perception; music cognition; music, neurobiology, and evolution; musical training, ability, and performance; and musical experience in everyday life. Chapters treat such topics as pitch, rhythm, and timbre; musical expectancy, musicality, musical disorders, and absolute pitch; brain processes involved in music perception, cross-species studies of music cognition, and music across cultures; improvisation, the assessment of musical ability, and singing; and music and emotions, musical preferences, and music therapy. Contributors Fleur Bouwer, Peter Cariani, Laura K. Cirelli, Annabel J. Cohen, Lola L. Cuddy, Shannon de L'Etoile, Jessica A. Grahn, David M. Greenberg, Bruno Gingras, Henkjan Honing, Lorna S. Jakobson, Ji Chul Kim, Stefan Koelsch, Edward W. Large, Miriam Lense, Daniel Levitin, Charles J. Limb, Psyche Loui, Stephen McAdams, Lucy M. McGarry, Malinda J. McPherson, Andrew J. Oxenham, Caroline Palmer, Aniruddh Patel, Eve-Marie Quintin, Peter Jason Rentfrow, Edward Roth, Frank A. Russo, Rebecca Scheurich, Kai Siedenburg, Avital Sternin, Yanan Sun, William F. Thompson, Renee Timmers, Mark Jude Tramo, Sandra E. Trehub, Michael W. Weiss, Marcel Zentner
In Psychology of Music: From Sound to Significance (2nd edition), the authors consider music on a broad scale, from its beginning as an acoustical signal to its different manifestations across cultures. In their second edition, the authors apply the same richness of depth and scope that was a hallmark of the first edition of this text. In addition, having laid out the topography of the field in the original book, the second edition puts greater emphasis on linking academic learning to real-world contexts, and on including compelling topics that appeal to students’ natural curiosity. Chapters have been updated with approximately 500 new citations to reflect advances in the field. The organization of the book remains the same as the first edition, while chapters have been updated and often expanded with new topics. 'Part I: Foundations' explores the acoustics of sound, the auditory system, and responses to music in the brain. 'Part II: The Perception and Cognition of Music' focuses on how we process pitch, melody, meter, rhythm, and musical structure. 'Part III: Development, Learning, and Performance' describes how musical capacities and skills unfold, beginning before birth and extending to the advanced and expert musician. And finally, 'Part IV: The Meaning and Significance of Music' explores social, emotional, philosophical and cultural dimensions of music and meaning. This book will be invaluable to undergraduates and postgraduate students in psychology and music, and will appeal to anyone who is interested in the vital and expanding field of psychology of music.
The second edition of The Oxford Handbook of Music Psychology updates the original landmark text and provides a comprehensive review of the latest developments in this fast-growing area of research. Covering both experimental and theoretical perspectives, each of the 11 sections is edited by an internationally recognised authority in the area. The first ten parts present chapters that focus on specific areas of music psychology: the origins and functions of music; music perception, responses to music; music and the brain; musical development; learning musical skills; musical performance; composition and improvisation; the role of music in everyday life; and music therapy. In each part authors critically review the literature, highlight current issues and explore possibilities for the future. The final part examines how, in recent years, the study of music psychology has broadened to include a range of other disciplines. It considers the way that research has developed in relation to technological advances, and points the direction for further development in the field. With contributions from internationally recognised experts across 55 chapters, it is an essential resource for students and researchers in psychology and musicology.
Twenty-five specialists from the field of sports psychology contribute 26 chapters to this text for undergraduate students in sport psychology courses, which may also appeal to graduate students and fellow professionals in the field. The text combines information from both basic and applied sources, from sport psychology and psychology. Coverage includes the evolution of sport psychology, personality and performance, motivation and sport, emotion and sport performance, intervention and performance enhancement, group dynamics, aggression in sport, gender issues in sport, psychological aspects of coaching, and psychological aspects of youth sport. Annotation copyrighted by Book News, Inc., Portland, OR.
Sociology and Music Education addresses a pressing need to provide a sociological foundation for understanding music education. The music education community, academic and professional, has become increasingly aware of the need to locate the issues facing music educators within a broader sociological context. This is required both as a means to deeper understanding of the issues themselves and as a means to raising professional consciousness of the macro issues of power and politics by which education is often constrained. The book outlines some introductory concepts in sociology and music education and then draws together seminal theoretical insights with examples from practice with innovative applications of sociological theory to the field of music education. The book concludes with an Afterword by Christopher Small.
Part I. Musical Learning. Introduction to Music Psychology ; Development ; Motivation ; Practice -- Part II. Musical Skills. Learning and Remembering Musical Works ; Expressing and Interpreting ; Composing and Improvising ; Managing Performance Anxiety -- Part III. Musical Roles. The Performer ; The Teacher ; The Listener ; The User.
This is an important work that addresses the complex issues surrounding musical meaning and experience, and the Western traditional justification for including music in education. The chapters in this volume examine the important subjects of tradition, innovation, social change, the music curriculum, music in the twentieth century, social strata, culture and music education, psychology, science and music education, including musical values and education. Additional topics include the origins of mania, aesthetics and musical meaning related to concepts that are well-known to the ancient Greeks.
Debates in Music Teaching encourages student and practising teachers to engage with contemporary issues and developments in music education. It aims to introduce a critical approach to the central concepts and practices that have influenced major interventions and initiatives in music teaching, and supports the development of new ways of looking at ideas around teaching and learning in music. Accessible and comprehensive chapters will stimulate thinking and creativity in relation to theory and practice, and will facilitate readers in reaching their own informed judgements and rationalising their position with deep theoretical knowledge and understanding. Throughout the book, international experts in the field consider key issues including: the justification for music in the school curriculum partnerships in music education and the identity of the music teacher technology and conceptions of musicianship social justice and music education the place of diverse musical genres and traditions in the music curriculum critical thinking and music education autonomy and integrity for music in cross-curricular work the politics, sociology and philosophy of music education. Debates in Music Teaching is for all student and practising teachers interested in furthering their understanding of the subject. Including carefully annotated further reading and reflective questions to help shape research and writing, this collection stimulates critical and creative thinking in relation to contemporary debates within music education.
If classical singers and vocal pedagogues are to be prepared adequately for performance, teaching and co-operation in inter-professional relations, then an holistic education entailing multi-disciplinary study is essential. In this important new book, Karen Sell examines the disciplines pertinent to vocal pedagogy, tracing the lineage of views from the ancient world to the present day. In the process important diverse roots are exposed, yielding differing and even conflicting tonal ideals which have a bearing on the consideration of different singing methods and the interpretation of songs and arias. Ethics and psychology are identified as central to the entire pedagogical process along with the scientific basis of singing: encompassing acoustics, anatomy and physiology, with special reference to the bearing of the latter two upon vocal health and hygiene. A detailed consideration of singing technique is the centrepiece of the book, and an understanding of good technique and scientific awareness is shown to be fundamental to good vocal pedagogical practice. This leads to a discussion on performance and aesthetics, contributing to the education of the fully equipped singer. No study to date has demonstrated the inter-relationships between all these individual disciplines and the ways in which they influence singing pedagogy. Sell‘s holistic, multi-disciplinary approach will be of particular benefit to singers and voice teachers, and will also appeal to music educationalists and professionals in cognate disciplines.