The Psychology of Music

by Deutsch

• ISBN13: 9780123814609
• ISBN10: 012381460X
• Edition: 3rd
• Format: Paperback
• Copyright: 2012-11-13
• Publisher: Elsevier Science

Summary

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

Table of Contents

List of Contributors	p. xi
Preface	p. xiii
The Perception of Musical Tones	p. 1
Introduction	p. 1
Perception of Single Tones	p. 4
Perception of Sound Combinations	p. 20
Conclusions and Outlook	p. 25
Acknowledgments	p. 25
References	p. 25
Musical Timbre Perception	p. 35
Psychophysics of Timbre	p. 36
Timbre as a Vehicle for Source Identity	p. 46
Timbre as a Structuring Force in Music Perception	p. 48
Concluding Remarks	p. 59
Acknowledgments	p. 62
References	p. 62
Perception of Singing	p. 69
Introduction	p. 69
Voice Function	p. 69
Phonation	p. 71
Resonance	p. 77
Intensity and Masking	p. 84
Aspects of Voice Timbre	p. 86
Vibrato	p. 90
Intonation in Practice	p. 96
Expression	p. 98
Concluding Remarks	p. 99
References	p. 100
Intervals and Scales	p. 107
Introduction	p. 107
Pitch Intervals	p. 108
Scales and Tuning Systems	p. 127
Overview	p. 131
Acknowledgments	p. 132
References	p. 132
Absolute Pitch	p. 141
Introduction	p. 141
Implicit AP	p. 142
Genesis of AP	p. 145
AP and Speech Processing	p. 150
AP and Pitch Processing	p. 157
Neuroanatomical Substrates of AP	p. 163
AP Accuracy and Stimulus Characteristics	p. 165
Pitch Shifts in AP Possessors	p. 169
AP in Special Populations	p. 170
Conclusion	p. 172
Acknowledgments	p. 173
References	p. 173
Grouping Mechanisms in Music	p. 183
Introduction	p. 183
Fusion and Separation of Spectral Components	p. 185
Larger-Scale Groupings	p. 195
Auditory Streaming and Implied Polyphony	p. 196
Grouping and Phrase Structure	p. 208
Grouping of Simultaneous Tone Sequences	p. 212
Grouping of Equal-Interval Tone Complexes	p. 231
Relationships to Music Theory and Practice	p. 237
Acknowledgments	p. 238
References	p. 238
The Processing of Pitch Combinations	p. 249
Introduction	p. 249
Feature Abstraction	p. 249
Abstraction of Higher-Order Shapes	p. 261
The Organization of Short-Term Memory for Tones	p. 283
Paradoxes Based on Pitch Class	p. 298
Illusory Transformation from Speech to Song	p. 312
Conclusion	p. 313
Acknowledgments	p. 313
References	p. 313
Computational Models of Music Cognition	p. 327
Introduction	p. 327
Models of Key-Finding	p. 329
Models of Meter-Finding	p. 333
Other Aspects of Perception	p. 340
Models of Musical Experience	p. 348
Models of Performance	p. 352
Models of Composition	p. 356
Conclusions	p. 359
Acknowledgment	p. 361
References	p. 361
Structure and Interpretation of Rhythm in Music	p. 369
Introduction	p. 369
Overview: Decomposing the Rhythmic Signal	p. 371
Structure and Interpretation: Visualizing Rhythm Space	p. 372
Rhythmic Pattern: Representation	p. 374
Rhythmic Pattern and Timing: Categorization	p. 375
Metrical Structure	p. 380
Tempo and Timing: Perceptual Invariance	p. 383
Rhythm and Movement: Embodied Cognition	p. 384
Acknowledgments	p. 385
References	p. 385
Bibliography	p. 390
Music Performance: Movement and Coordination	p. 405
Introduction	p. 405
Movement in Performance	p. 406
Ensemble Performance	p. 412
Summary	p. 418
Acknowledgments	p. 419
References	p. 419
Musical Development	p. 423
Origins of Music	p. 423
Musical Development in a Social Context	p. 425
Musical Enculturation and Critical Periods for Musical Acquisition	p. 435
Music Production: Development of Singing	p. 446
Effects of Formal Music Training on Musical Development	p. 451
Interactions between Music Experience and Nonmusical Abilities	p. 459
General Conclusions	p. 473
Acknowledgments	p. 474
References	p. 474
Music and Cognitive Abilities	p. 499
Introduction	p. 499
Music Aptitude and Cognitive Abilities	p. 499
Cognitive Abilities after Listening to Music	p. 505
Background Music and Cognitive Abilities	p. 511
Music Training and Cognitive Abilities	p. 519
Conclusions	p. 533
Acknowledgments	p. 534
References	p. 534
The Biological Foundations of Music: Insights from Congenital Amusia	p. 551
Congenital Amusia	p. 552
Pitch Is Special	p. 555
Right Frontotemporal Connectivity Is Key	p. 557
Music Genes	p. 559
Limited Plasticity	p. 559
Conclusions	p. 561
Acknowledgments	p. 561
References	p. 561
Brain Plasticity Induced by Musical Training	p. 565
Introduction	p. 565
Behavioral Studies: The Effects of Musical Training on Cognitive Performance	p. 565
Imaging Studies: The Effects of Musical Training on Brain Organization	p. 567
Auditory-Motor Interactions Underlie Music and Language Learning	p. 570
Music-based Treatments to Modulate Brain Plasticity: Melodic Intonation Therapy and Auditory-Motor Mapping Training	p. 570
Concluding Remarks	p. 574
Acknowledgments	p. 575
References	p. 575
Music and Emotion	p. 583
History	p. 584
Emotion Theory	p. 587
Perception of Emotion	p. 589
Arousal of Emotion	p. 602
Themes in Current Research	p. 620
Implications and Outlook	p. 629
References	p. 632
Comparative Music Cognition: Cross-Species and Cross-Cultural Studies	p. 647
Introduction	p. 647
Cross-Species Studies	p. 648
Cross-Cultural Studies	p. 657
Conclusion	p. 673
Acknowledgments	p. 673
References	p. 673
Psychologists and Musicians: Then and Now	p. 683
Helmholtz and Basevi in the 1860s	p. 684
Seashore and Kurth in the 1920s	p. 689
Francès and Meyer in the 1950s	p. 693
Psychologists and Musicians Today	p. 697
A Continuing Challenge	p. 702
References	p. 705
Author Index	p. 709
Subject Index	p. 747
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