Buch, Englisch, 542 Seiten, Format (B × H): 178 mm x 254 mm, Gewicht: 1007 g
An Introduction to Music Psychology
Buch, Englisch, 542 Seiten, Format (B × H): 178 mm x 254 mm, Gewicht: 1007 g
ISBN: 978-1-032-60696-5
Verlag: Routledge
Music in the Human Experience: An Introduction to Music Psychology, Third Edition, explores the ways in which we make sense of music and how we respond to it—cognitively, physically, and emotionally. Written by musicians, for musicians, while incorporating findings from biology, anthropology, sociology, physics, philosophy, and education, the text presents musical experiences as widely varied and hugely complex affairs. How did human beings come to be musical creatures? Why do people have emotional responses to music? In Music in the Human Experience, the authors seek to understand and explain these musical phenomena that lie at the core of what it means to be human.
New to the Third Edition:
- New co-author, Gary E. McPherson
- Fresh discussions on in-demand topics: social justice in music, fitness for musicians, constructivism, and more
- Increased recognition of non-Western music and musical experiences
- A digital overhaul of the accompanying multimedia tutorials, now available via www.musicinthehumanexperience.com
- Refined and updated content throughout
Zielgruppe
Postgraduate, Undergraduate Advanced, and Undergraduate Core
Autoren/Hrsg.
Fachgebiete
Weitere Infos & Material
Part I: Introducing Music Psychology Chapter 1. What is Music Psychology?
The Purview of Music Psychology
A Model of Music Psychology Contributions from Biology Contributions from Anthropology Contributions from Philosophy Contributions from Education Contributions from Psychology Contributions from Sociology Contributions from Physics Contributions from Music
A Brief History of Music Psychology
An Overview of the Literature in Music Psychology
Conclusion
Discussion Questions
Chapter 2. Philosophical Issues in Music Psychology
Human and Musical Nature Biological Differences Adaptability Cultural Development Symbolic Behaviors Love Play Religion Technology Aesthetic Sensitivity Knowledge
The Interface of Music Philosophy and Music Psychology General Philosophical Approaches The Science of Beauty Experimental Aesthetics The Golden Mean and Mathematical Influences A Philosophical Paradigm Shift in Music Psychology Music as a Way of Knowing
Is Music Psychology Encroaching on Music Philosophy’s Territory?
Seashore’s Involvement with Eugenics
Conclusion
Discussion Questions
Chapter 3. How We Came to be Musical
Rhythm, a Fundamental Life Process
Natural Soundscapes
Parent-Infant Bonding
The Acquisition of Language
Music as a Way of Knowing
Social Organization
Conclusion
Discussion Questions Chapter 4. Music Around the World and Across Time
Time-Line of Early Artistic Behaviors
Prehistoric Cave and Rock Art
Art and Technology
Invariants Religion Celebrations Altered States of Consciousness
Music: A Human Invariant
Emotional expression (Merriam), Regulation of an individual's emotional, cognitive, or physiological state (Clayton)
Aesthetic enjoyment (Merriam)
Entertainment (Merriam), Personal enjoyment, Games (Gregory)
Communication (Merriam, Gregory)
Symbolic representation (Merriam, Clayton), Personal symbol (Gregory)
Physical response (Merriam), Dancing (Clayton)
Enforcing conformity to social norms (Merriam), Mediation between self and other (Clayton)
Validation of social institutions and religious rituals (Merriam), Ceremonies and festivals; Religious music (Gregory)
Contribution to the continuity and stability of culture (Merriam), Ethnic or group identity (Gregory)
Contribution to the integration of society (Merriam)
Lullabies (Gregory)
Work music (Gregory), Coordination of action (Clayton)
Storytelling (Gregory)
Battle (Gregory)
Salesmanship (Gregory)
Healing, trance (Gregory)
Court (Gregory)
Conclusion
Discussion Questions
Part II: Perceiving, Understanding and Responding to Music
Chapter 5. Acoustical Foundations of Music
What is Sound?
Important Parameters of Sound
Measuring and Describing Sound and Vibration Frequency Amplitude Waveform (Signal Shape) Time
How Environment Affects Sound Transmission and Absorption Reflection Diffraction Refraction Interference
Tuning Systems Tuning in Western Music Non-Western Tuning Systems
Acoustics of the Voice and Musical Instruments The Voice Aerophones Chordophones Idiophones, Membranophones, and Corpophones Electrophones
Room Acoustics
Conclusion
Discussion Questions Chapter 6. Musical Hearing
The Hearing Mechanism Outer Ear Middle Ear Inner Ear From Ear to Brain
The Auditory Cortex
Conclusion
Discussion Questions
Chapter 7. Psychoacoustics and the Perception of Music
The Critical Band
The Perception of Pitch Pitch Discrimination Pitch Matching Pitch Height and Pitch Chroma Absolute Pitch
Synesthesia
The Perception of Loudness
The Perception of Timbre
The Perception of Duration
Secondary Relationships Pitch Loudness Timbre Duration Volume and Density
Conclusion
Discussion Questions
Chapter 8. Music Cognition
Gestalt Laws of Cognitive Organization
Auditory Scene Analysis Schemata The Spotlight of Attention The Cocktail Party Phenomenon and Auditory Stream Segregation
Musical Memory
Statistical Learning in Music
Expectancy Theory
Tonality
Cognition of Musical Elements Melody and Harmony
Tonality in Melody Cognition
Melodic Contour
Consonance - Dissonance Rhythm Timbre
Cognition of Larger Musical Forms
Cross-Cultural Comparative Research in Music
Music and Language
Conclusion
Discussion Questions
Chapter 9. Music and the Brain
Brief Introduction to the Brain
Neural Plasticity
Pruning
Critical and Sensitive Periods
Neural Networks
Multisensory Integration
Music in the Brain Support from Ancillary Disciplines
Support from Indirect Approaches
Special Musicians
Imaging Techniques for Studying Music
Electroencephalography
Electrocorticography
Event-related Potentials
Magnetoencephalography
Positron-Emission Tomography
Magnetic Resonance Imaging
Functional Magnetic Resonance Imaging
Transcranial Magnetic Stimulation
Diffusion Tensor Imaging
fNIRS: Functional Near-Infared Spectroscopy
Hyperscanning Imaging Music Perception and Cognition Imaging Affective Responses to Music Imaging Musical Performance
Imaging Music Learning
Predictive Coding of Music (PCM) Model
Conclusion
Discussion Questions
Chapter 10. Bodily Responses to Music
Physiological Responses to Music Heart Rate and Pulse Rate Blood Pressure Respiration Skin Conductance Responses Neurochemical Responses Skin, Finger, or Body Temperature Miscellaneous Responses
Physical Responses to Music Muscular and Motor Responses Chills and Tears Facial Gestures Body Movements
Discussion of Psychophysiological Variables
Conclusion
Discussion Questions
Chapter 11. Musical Emotions Introduction to the Study of Emotions The Role of Expectations in Musical Emotions Measuring Musical Emotions
Perceived Emotions: The Cognitivist Position
Induced Musical Emotions: The Emotivist Position
A Third Viewpoint: Aesthetic Trinity Theory
Musical Emotions in Everyday Experiences
Conclusion
Discussion Questions Part III: Being Musical
Chapter 12. The Musical Person
Is Musicality Inherited or Acquired? Genetic Factors in Musicality
The Acquisition of Musical Attributes
Summary of the Inheritance/Acquisition of Musical Attributes
The Relationship of Musical Attributes to Other Human Attributes
The Musical Personality
Religious and Spiritual Aspects
Musical Identity
Musical Preferences Preferences for Instruments Preferences for Musical Genres The Listener The Music Situations and Contexts
Conclusion
Discussion Questions
Chapter 13. Music Performance
Motor Skills Neuromotor Aspects of Music Making Motor Aspects of Music Making
Music Performance The Acquisition of Motor Skills Audio-Motor and Mirror Neuron Systems Quantity of Practice
Cognitive Skills Quality of Practice Mental Rehearsal Music Reading
Expressive Skills Body Movement Musical Cues for Expressiveness
Musical Creativity
Memory and Creativity
Divergent and Convergent Thinking
Flow
Improvisation
Conclusion
Discussion Questions
Chapter 14. The Psychology of Music Learning
Psychoanalysis
Behavioral Psychology
Cognitive Approaches Humanistic Psychology Gestalt Psychology Developmental Psychology Social Psychology Cognitive Psychology Taxonomies Music Intelligence
Music Cognition, Music Learning, and Reflective Thinking Cognitive Neuroscience
Cognitive Load Theory
Explicit Instruction
Worked Examples
Connectivism
Learning Styles
Music Teaching and Learning
Conclusion
Discussion Questions
Chapter 15. Music and Health
Music Therapy Alzheimer's Disease Autism Cerebral Palsy Dyslexia Parkinson's Disease and Stroke Premature and Newborn Infants Psychiatric Disorders Music Medicine
Aphasia
Stress, Pain, Anxiety, and the Immune System
Performing Arts Medicine Hearing HealthMM6.4 Vocal Health Bodily Health Psychosocial Health Performance Anxiety Other Mental Health Issues
Music and Wellbeing
Conclusion
Discussion Questions
Chapter 16. Music in Social Contexts
Music in Society From Birth to Death From Lowest to Highest Cognitive Functioning From One Person to Thousands
Reflections of Society in Music Social Behaviors among Performing Musicians Social Behaviors among Music Listeners
The Influence of Music on Social Behaviors Music as a Socializing Agent The Influence of Music in the Workplace
The Influence of Music on Thought, Attitude, and Social Behavior
Conclusion
Discussion Questions
Epilogue: Ruminations on Music Psychology Research
R1. What is music psychology, and who conducts music psychology research?
R2. Interactions between philosophy and music psychology
R3. The triumvirate of theory, research and practice
R4. Basic and applied research
R5. Quantitative and qualitative research
R6. Formal and informal music experiences
R7. Global perspectives
R8. Toward a cultural music psychology
R9. Replications
R10. A music psychology research collaboratory
