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The Psychology of Music
 
 

The Psychology of Music, 3rd Edition

 
The Psychology of Music, 3rd Edition,Diana Deutsch,ISBN9780123814609
 
 
 

D Deutsch   

Academic Press

9780123814609

9780123814616

786

229 X 152

A timely update to the reference that explains musical phenomena in terms of mental functions, defining the ways in which one perceives, remembers, creates, and performs music.

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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

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.

Readership

Musicians; psychologists; students interested in and studying the psychology of music.

Diana Deutsch

Affiliations and Expertise

University of California, San Diego, U.S.A.

The Psychology of Music, 3rd Edition

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     Bibliography 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. France's and Meyer in the 1950s     IV. Psychologists and Musicians Today     V. A Continuing Challenge     References Author Index Subject Index

Quotes and 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

 
 
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