The Oxford Handbook of Music Psychology

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  • Edition: 2nd
  • Format: Hardcover
  • Copyright: 2016-03-07
  • Publisher: Oxford University Press
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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.

Author Biography

Susan Hallam, Professor, University College London, UCL Institute of Education, Department of Lifelong and Comparative Education, London, UK,Ian Cross, Professor, Centre for Music & Science Faculty of Music University of Cambridge,Michael Thaut, Professor, Center for Biomedical Research in Music, Colorado State University, Fort Collins, CO, USA

Susan Hallam is Professor of Education at the Institute of Education, University of London and currently Dean of the Faculty of Policy and Society. She pursued careers as both a professional musician and a music educator before completing her psychology studies and becoming an academic in 1991 in the department of Educational Psychology at the Institute. Her research interests include disaffection from school, ability grouping and homework and issues relating to learning in music, practising, performing, musical ability, musical understanding and the effects of music on behaviour and studying. She is past editor of Psychology of Music, Psychology of Education Review and Learning Matters. She has twice been Chair of the Education Section of the British Psychological Society, and is currently treasurer of the British Educational Research Association, an auditor for the Quality Assurance Agency and an Academician of the Learned Societies for the Social Sciences

Ian Cross teaches at the University of Cambridge where he is Reader in Music & Science, Director of the Centre for Music & Science and a Fellow of Wolfson College. He has published widely in the field of music cognition. His principal research focus at present is on music as a biocultural phenomenon, involving collaboration with psychologists, anthropologists, archaeologists and computational neuroscientists. His research explores the biological and cultural bases for human musicality, in particular, the mechanisms underlying the capacity for achievement and maintenance of inter-individual synchrony of behaviour, those underlying the experience of meaning in engagement with music, and those involved in the cognition and perception of multi-levelled structure in both music and language.

Michael H Thaut received his masters and PhD in music from Michigan State University. He is also a graduate of the Mozarteum Music Conservatory in Salzburg/Austria. At Colorado State University he is a Professor of Music and a Professor of Neuroscience and serves as Executive Director of the School of the Arts and Chairman of the Dept of Music, Theater, and Dance. He has also directed the Center for Biomedical Research in Music for 12 years. Dr Thaut's internationally recognized research focuses on brain function in music, especially time information processing in the brain related to rhythmicity and biomedical applications of music to neurologic rehabilitation of cognitive and motor function. He has received both the National Research Award and the National Service Award from the American Music Therapy Association. He is an elected member of the World Academy of Multidisciplinary Neurotraumatology and in 2007 he was elected President of the International Society for Clinical Neuromusicology.

Table of Contents

Part 1: The origins and functions of music
1. The nature of music and its evolution, Ian Cross
2. Universals in music processing: Entrainment, acquiring expectations and learning, Catherine J. Stevens and Tim Bryon
3. Music and meaning, Ian Cross and Elizabeth Tolbert
4. The social and personal functions of music in cross-cultural perspective, Martin Clayton
Part 2: Music perception
5. The perception of pitch, Thomas Stainsby & Ian Cross
6. Absolute pitch, Psyche Loui
7. Tonal cognition, Emmanuel Bigand and Benedicte Poulin-Charronnat
8. The perception of musical timbre, Stephen McAdams and Bruno L. Giordano
9. Musical time, Mari Riess Jones
10. Tonality and contour in melodic processing, Mark A. Schmuckler
11. Memory for music, Bob Snyder
Part 3: Responses to music
12. Bodily Responses to Music, Donald A. Hodges
13. Emotional reactions to music, Patrik N. Juslin
14. The relationship between musical structure and perceived expression, Alf Gabrielsson
15. Aesthetics, David Huron
16. The neuroaesthetics of music, Donald A. Hodges
17. Musical preferences, Alika Greasley and Alexandra Lamont
Part 4: Music and the Brain
18. The neurobiology of musical expectations from perception to emotion, Laurel J. Trainor and Robert J. Zatorre
19. Disorders of music cognition, Psyche Loui
20. Music and brain plasticity, Simone Dalla Bella
21. The relationship between music and language, Sebastian Jentschke
22. The neuroscience of rhythm, Daniel J. Cameron and Jessica A. Grahn
Part 5: Musical development
23. Prenatal development and the phylogeny and ontogeny of musical behaviour, Richard Parncutt
24. Infant musicality, Sandra E. Trehub
25. Music development from the early years onwards, Alexandra Lamont
26. Music training and nonmusical abilities, E. Glenn Schellenberg
Part 6: Learning musical skills
27. Musical potential, Gary McPherson and Susan Hallam
28. Practicing, Harald Jorgensen and Susan Hallam
29. Individuality in the learning of musical skills, Helena Gaunt and Susan Hallam
30. Motivation to learn, Susan Hallam
31. The role of the family in supporting learning, Andrea Creech
32. The role of the institution and teachers in supporting learning, Graham Welch and Adam Ockelford
Part 7: Musical performance
33. Planning and performance, Eckart Altenmuller & Shinichi Furuya
34. Sight reading, Andreas Lehmann and Reinhardt Kopiez
35. Performing from memory, Roger Chaffin, Alexander P. Demos and Topher Logan
36. Bodily Mediated Coordination, Collaboration, and Communication in Music Performance, Jane W. Davidson and Mary C. Broughton
37. Emotion in music performance, Patrik N. Juslin and Erik Lindstrom
38. Expression and communication of structure in music performance: measurements and models, Erica Bisesi and W. Luke Windsor
39. Optimizing physical and psychological health in performing musicians, Dianna Theadora Kenny and Bronwen J. Ackermann
Part 8: Composition and improvisation
40. Making a mark: The psychology of composition, Jonathan Impett
41. Musical Improvisation, Richard Ashley
42. Pathways to the Study of Music Composition by Preschool to Precollege Students, Peter R. Webster
Part 9: The role of music in our everyday lives
43. Choosing to hear music: motivation, process, and effect, Alexandra Lamont, Alika Greasley and John Sloboda
44. Music in performance arts: Film, theatre and dance, Annabel J. Cohen
45. Peak experiences with music, Alf Gabrielsson, John Whaley and John Sloboda
46. Musical identities, David J. Hargreaves, Raymond MacDonald and Dorothy Miell
47. The effects of music in community and education settings, Susan Hallam and Raymond MacDonald
48. Music and consumer behavior, Adrian C. North, David J. Hargreaves and Amanda E. Krause
Part 10: Music Therapy
49. Processes of music therapy: Clinical and Scientific Rationales and Models, Shannon De l'Etoile
50. Clinical Practice in music therapy, Corene Hurt-Thaut
51. Research in music therapy, Barabara L. Wheeler
52. Music Therapy in Medical and Neurological Rehabilitation Settings, Stefan Mainka, Ralph K. W. Spintge and Michael Thaut
Part 11: Conceptual frameworks, research methods and future directions
53. Beyond Music Psychology, Adam Ockelford
54. History and research, Michael Thaut
55. Where now?, Susan Hallam, Ian Cross and Michael Thaut

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