The Oxford Handbook of Music Psychology

The Oxford Handbook of Music Psychology

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Description

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.
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Product details

  • Paperback | 976 pages
  • 172 x 247 x 51mm | 1,686g
  • Oxford, United Kingdom
  • English
  • Revised
  • 2nd Revised edition
  • 0198818831
  • 9780198818830
  • 102,084

Table of contents

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

The Oxford Handbook of Music Psychology presents an extraordinarily comprehensive view of the many elements that constitute the psychology of music. In essence, it is a treasure trove of information and research findings about the role music plays in our lives. * Alan Swope, PsycCRITIQUES (American Psychological Association) *
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About Susan Hallam

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
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