The Psychology of Music
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The Psychology of Music

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Description

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.
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Product details

  • Paperback | 786 pages
  • 152 x 228 x 44mm | 961.61g
  • Academic Press Inc
  • San Diego, United States
  • English
  • 3rd edition
  • 012381460X
  • 9780123814609
  • 410,547

Table of contents

Preface

Chapter 1: The Perception of Musical Tones

Chapter 2: Musical Timbre Perception

Chapter 3: Perception of Singing

Chapter 4: Intervals and Scales

Chapter 5: Absolute Pitch

Chapter 6: Grouping Mechanisms in Music

Chapter 7: The Processing of Pitch Combinations

Chapter 8: Computational Models of Music Cognition

Chapter 9: Structure and Interpretation of Rhythm in Music

Chapter 10: Music Performance: Movement and Coordination

Chapter 11: Musical Development

Chapter 12: Music and Cognitive Abilities

Chapter 13: The Biological Foundations of Music: Insights from Congenital Amusia

Chapter 14: Brain Plasticity Induced by Musical Training

Chapter 15: Music and Emotion

Chapter 16: Comparative Music Cognition: Cross-species and Cross-Cultural Studies

Chapter 17: Psychologists and Musicians: Then and Now
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Review Text

"The editor has succeeded admirably in making.a valuable and timely resource for musicians and psychologists." CHOICE

"I have. several dozen excellent books about music perception and cognition, but none is more dog-eared or more used than the Psychology of Music. The first edition's influence on the field makes a compelling argument for the purchase of this updated and revised version, certain to be a blueprint for new research and a leading resource for many years to come." MUSIC PERCEPTION

"The attributes of the book are thoroughness, authority and clarity. That one volume can so adeptly select, draw on, arrange, assess, amplify its material and invite the reader to draw meaningful and reliable conclusions relevant to his/her love of music is a huge achievement. That the book does so with apposite and well-adduced illustrations while at the same time blending technical and specialist accuracy with accessibility is remarkable. Thoroughness and interest, a refreshing amalgam of (the authors') enthusiasm with their collective and individual command of the literature and practices in the field(s) of each make it nothing short of superb as a reference (to be consulted) and a narrative (to be read from cover to cover) by lovers of serious music of all types." - EXCERPT BY MARK SEALEY for www.classicalnet.com
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Review quote

"The editor has succeeded admirably in making...a valuable and timely resource for musicians and psychologists..." CHOICE

"I have... several dozen excellent books about music perception and cognition, but none is more dog-eared or more used than the Psychology of Music... The first edition's influence on the field makes a compelling argument for the purchase of this updated and revised version, certain to be a blueprint for new research and a leading resource for many years to come." MUSIC PERCEPTION

"The attributes of the book are thoroughness, authority and clarity. That one volume can so adeptly select, draw on, arrange, assess, amplify its material and invite the reader to draw meaningful and reliable conclusions relevant to his/her love of music is a huge achievement. That the book does so with apposite and well-adduced illustrations while at the same time blending technical and specialist accuracy with accessibility is remarkable. Thoroughness and interest, a refreshing amalgam of (the authors') enthusiasm with their collective and individual command of the literature and practices in the field(s) of each make it nothing short of superb as a reference (to be consulted) and a narrative (to be read from cover to cover) by lovers of serious music of all types." - EXCERPT BY MARK SEALEY for www.classicalnet.com
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About Diana Deutsch

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.
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Rating details

12 ratings
4.33 out of 5 stars
5 58% (7)
4 17% (2)
3 25% (3)
2 0% (0)
1 0% (0)
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