What is included with this book?
Preface | p. ix |
List of Illustrations | p. xvii |
The Musical Mind | p. 1 |
The sensory capacities | |
Musical imagery, imagination, and memory | |
Musical intelligence | |
Musical feeling | |
Musical performance | |
The meaning of this analysis | |
The Musical Medium | p. 13 |
Musician, music, listener | |
Characteristics of the sound wave | |
Frequency: pitch | |
Musical aspects of pitch intonation | |
Intensity: loudness | |
Musical aspects of loudness | |
Duration: time | |
Musical aspects of time | |
Wave form: timbre | |
Musical aspects of tonal timbre | |
The musical performance score | |
The Science of Music | p. 23 |
Scope of the subject | |
The performer, the music, the listener | |
General principles of science | |
Basic principles in the psychology of music | |
A Musical Ornament, the Vibrato | p. 33 |
Nature of the vibrato | |
An example of the vocal vibrato | |
An example of instrumental vibrato | |
Frequency of occurrence, extent and rate of vibratos | |
Normal illusions which make for beauty of vibrato | |
The nature of beauty in the vibrato | |
Ear training for the vibrato | |
Use and abuse of the vibrato | |
The vibrato, good, bad, indifferent, and ideal | |
Pitch: Frequency | p. 53 |
The nature of pitch | |
Limits of audible pitch | |
Pitch discrimination | |
Absolute pitch | |
The significance of individual differences | |
Normal illusions of pitch | |
Subjective tones | |
The first difference tone | |
Other difference tones | |
Summation tones | |
Subjective harmonics | |
The difference tone a substitute for a low fundamental | |
Pitch performance | |
Loudness: Intensity | p. 76 |
The role of intensity | |
Sensitivity or hearing ability | |
Deterioration with age: presbycousis | |
Children's hearing | |
Discrimination: the sense of intensity | |
Number of audible differences in loudness | |
Motor capacities | |
Intensity characteristics of musical tones | |
Amplification of sound | |
Duration: Time | p. 90 |
Nature of the perception of time | |
Discrimination: the sense of time | |
Normal illusions of time | |
Motility | |
Timbre: Wave Form | p. 95 |
The nature of timbre | |
Harmonic analysis | |
Synthetic tones | |
Timbre discrimination: the sense of timbre | |
Tone Quality: Sonance | p. 103 |
Analogy in moving pictures | |
Types of sonance | |
Sonance in attack, release, and portamento | |
The inside of a vocal tone | |
What is in a name? | |
Sonance in speech | |
Nature of the vowel in music and speech | |
The problem of formant regions | |
Dependence of harmonic structure upon fundamental pitch and total intensity in the vowel | |
Conversational vs. audience voice | |
Consonance | p. 125 |
The nature of consonance | |
The psychological approach | |
Six psychological problems | |
Order of merit in each of four criteria | |
Order of rank on three criteria combined | |
The sense of consonance | |
Volume | p. 134 |
Spatial factors | |
Quantitative factors | |
Qualitative factors | |
Temporal factors | |
Subjective factors | |
Carrying power | |
Rhythm | p. 138 |
The nature of rhythm | |
What rhythm does | |
Individual differences in musical rhythm | |
Psychology of rhythm | |
Learning in Music | p. 149 |
Twelve rules for efficient learning in music (to the pupil) | |
Some specific applications (to the instructor) | |
Imagining in Music | p. 161 |
The analogy in sculpture and painting | |
Comparison of musicians and scientists | |
R. Schumann | |
Mozart | |
Berlioz | |
Wagner | |
Supplementary imagery | |
Living in a tonal world | |
The development of imagery | |
Individual differences in mental imagery | |
Thinking in Music | p. 173 |
The issue | |
The nature of musical intelligence | |
How musicians rate | |
Nature of Musical Feeling | p. 178 |
Determined by capacities | |
Intensified by pursuit | |
Characterized by intelligence and motor skills | |
Transfer to other situations | |
Timbre of Band and Orchestral Instruments | p. 182 |
The bassoon | |
The clarinet | |
The French horn | |
The baritone horn | |
The cornet | |
The slide trom bone | |
The flute | |
The oboe | |
The tuba | |
Violin | p. 199 |
The violin performance score | |
The violin phrasing score | |
Comparison of the performance of two players | |
The pitch factor | |
The intensity factor | |
The temporal aspect | |
The timbre aspect | |
Intervals: the problem of scales | |
Piano | p. 225 |
Piano touch | |
The piano camera | |
The piano performance score | |
Section of Chopin Nocturne No. 6 | |
Similarity in statement and restatement | |
Consistency of interpretation | |
Asynchronization of chords | |
Voice | p. 254 |
Singing | |
The tonal aspect: pitch | |
The dynamic aspect: intensity | |
The temporal aspect: time | |
Time and stress: rhythm | |
The qualitative aspect: timbre and sonance | |
Principles of Guidance in Music | p. 286 |
The problem | |
Paving the way | |
Reminiscent incidents | |
Principles of measurement and guidance | |
Sources of error in guidance procedures | |
Measures of Musical Talent | p. 302 |
What can we measure? | |
Principles involved in the elementary battery of measures of musical talent | |
Criticisms of this approach | |
Purpose of the phonograph records and supplementary procedures | |
Reliability | |
The basis for rank order | |
The uses of these measures | |
Analysis of Talent in a Music School | p. 312 |
Origin of the Eastman School experiment | |
Plan and purpose of the experiment | |
Classification | |
Representative profiles | |
Stability of the classification | |
Retests of adults and children | |
Bearing on success in the college music course | |
Analysis of Talent in the Public School | p. 321 |
The Lincoln experiment | |
The Rochester service | |
Procedure in the guidance program | |
The training of teachers and supervisors | |
The organization of a guidance program for the public school | |
The Inheritance of Musical Talent | p. 330 |
The nature of the inheritance of musical talent | |
Basic approaches now available | |
Possible ways of organizing investigation | |
The naturalist's point of view | |
Primitive Music | p. 346 |
Musical anthropology through phonophotography | |
Negro songs | |
The Development of Musical Skills | p. 360 |
Control of pitch intonation | |
Control of intensity | |
Control of time and rhythm | |
The rhythm meter | |
Training for precision in rhythmic action | |
Control of timbre | |
General significance of specific training for skills | |
Musical Esthetics | p. 373 |
Approaches to musical esthetics | |
Esthetics as a normative science | |
The musical message | |
Appendix | p. 383 |
Bibliography | p. 387 |
Index to Authors Mentioned or Quoted in the Text | p. 399 |
Index to Musicians | p. 401 |
Index to Compositions | p. 403 |
Subject Index | p. 405 |
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