The Psychology of Music

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.

• 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

  Autorentext

  Diana Deutsch is Professor of Psychology at the University of California, San Diego, and conducts research on perception and memory for sounds, particularly music. She has discovered a number of musical illusions and paradoxes, which include the octave illusion, the scale illusion, the glissando illusion, the tritone paradox, the cambiata illusion, the phantom words illusion and the speech-to-song illusion, among others. She also explores ways in which we hold musical information in memory, and in which we relate the sounds of music and speech to each other. Much of her current research focuses on the question of absolute pitch - why some people possess it, and why it is so rare. Deutsch has been elected a Fellow of the American Association for the Advancement of Science, the Acoustical Society of America, the Audio Engineering Society, the Society of Experimental Psychologists, the American Psychological Society, and the American Psychological Association. She has served as Governor of the Audio Engineering Society, as Chair of the Section on Psychology of the American Association for the Advancement of Science, as President of Division 10 of the American Psychological Association (Society for the Psychology of Aesthetics, Creativity and the Arts), and as Chair of the Society of Experimental Psychologists. She is Founding Editor of the journal Music Perception, and served as Founding President of the Society for Music Perception and Cognition. She was awarded the Rudolf Arnheim Award for Outstanding Achievement in Psychology and the Arts by the American Psychological Association in 2004, the Gustav Theodor Fechner Award for Outstanding Contributions to Empirical Aesthetics by the International Association of Empirical Aesthetics in 2008, and the Science Writing Award for Professionals in Acoustics by the Acoustical Society of America in 2011.

  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.

  Zusammenfassung
  Helps you to understand musical phenomena in terms of mental functions - to characterize the ways in which one perceives, remembers, creates, and performs music, this book encompasses the way the brain perceives, remembers, creates, and performs music. It is designed for use as a textbook for advanced courses in psychology of music.

  Inhalt

  1: The Perception of Musical Tones
  2: Musical Timbre Perception
  3: Perception of Singing
  4: Intervals and Scales
  5: Absolute Pitch
  6: Grouping Mechanisms in Music
  7: The Processing of Pitch Combinations
  8: Computational Models of Music Cognition
  9: Structure and Interpretation of Rhythm in Music
  10: Music Performance: Movement and Coordination
  11: Musical Development
  12: Music and Cognitive Abilities
  13: The Biological Foundations of Music: Insights from Congenital Amusia
  14: Brain Plasticity Induced by Musical Training
  15: Music and Emotion
  16: Comparative Music Cognition: Cross-species and Cross-Cultural Studies
  17: Psychologists and Musicians: Then and Now