Beschreibung

The aim of the psychology of music is to understand musical phenomena in terms of mental functions--to characterize the ways in which one perceives, remembers, creates, and performs music.
New to this Edition:
Completely revised to cover new developments including the opportunity to generate, analyze, and transform sound by computer, advances in neuroscience that influence thinking about the way music is processed in the brain, and increased collaboration between psychologists and musicians
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

Inhaltsangabe

Preface
Chapter 1: The Perception of Musical Tones
Andrew J. Oxenham
Chapter 2: Musical Timbre Perception
Stephen McAdams
Chapter 3: Perception of Singing
Johan Sundberg
Chapter 4: Intervals and Scales
William Forde Thompson
Chapter 5: Absolute Pitch
Diana Deutsch
Chapter 6: Grouping Mechanisms in Music
Diana Deutsch
Chapter 7: The Processing of Pitch Combinations
Diana Deutsch
Chapter 8: Computational Models of Music Cognition
David Temperley
Chapter 9: Structure and Interpretation of Rhythm in Music
Henkjan Honing
Chapter 10: Music Performance: Movement and Coordination
Caroline Palmer
Chapter 11: Musical Development
Laurel J. Trainor and Erin E. Hannon
Chapter 12: Music and Cognitive Abilities
Glenn Schellenberg and Michael W. Weiss
Chapter 13: The Biological Foundations of Music: Insights from Congenital Amusia
Isabelle Peretz
Chapter 14: Brain Plasticity Induced by Musical Training
Catherine Y. Wan and Gottfried Schlaug
Chapter 15: Music and Emotion
Patrik N. Juslin and John A. Sloboda
Chapter 16: Comparative Music Cognition: Cross-Species and Cross-Cultural Studies
Aniruddh D. Patel and Steven M. Demorest
Chapter 17: Psychologists and Musicians: Then and Now
Robert O. Gjerdingen

Klappentext

The aim of The Psychology of Music is to understand musical phenomena in terms of mental functions--to characterize the ways in which one perceives, remembers, creates, and performs music. Since The Psychology of Music was first 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 book was first written, are now quite common; to a large extent now speaking a common language and agreeing on basic philosophical issues. The Psychology of Music, 3e, 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. This newest edition is approximately 86% changed from the 2e, with three new chapters, 10 chapters by new authors, and all remaining chapters heavily revised. New chapters include Computational Models of Music Cognition and Music and Emotion. International contributors hail from the US, Canada, UK, France, Sweden, Germany, and the Netherlands.