Oxford Handbook of Music Psychology

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"The field of Music Psychology has grown dramatically in the past 20 years, to emerge from being just a minor topic to one of mainstream interest within the brain sciences. However, until now, there has been no comprehensive reference text in the field." "The Oxford Handbook of Music Psychology is a landmark text providing, for the first time ever, a comprehensive overview of the latest developments in this fast-growing area of research. With contributions from over fifty experts in the field, the range and depth of coverage is unequalled. All the chapters combine a solid review of the relevant literature with well-reasoned arguments and robust discussions of the major findings, as well as original insights and suggestions for future work." Written by leading experts, the 52 chapters are divided into 11 sections covering both experimental and theoretical perspectives, each edited by an internationally recognised authority.
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Product Details

  • ISBN-13: 9780199604975
  • Publisher: Oxford University Press, USA
  • Publication date: 7/14/2011
  • Edition description: New Edition
  • Pages: 600
  • Sales rank: 1,176,194
  • Product dimensions: 6.70 (w) x 9.60 (h) x 1.50 (d)

Meet the Author

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.

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Table of Contents

Part I - The Origins and Functions of Music edited by Ian Cross
1. The nature of music and its evolution, Ian Cross
2. Universals in music processing, Catherine Stevens & Tim Byron
3. Music and meaning, Ian Cross & Elizabeth Tolbert
4. The social and personal functions of music in cross-cultural perspective, Martin Clayton
Part II - Music Perception edited by Ian Cross
5. The perception of pitch, Thomas Stainsby & Ian Cross
6. Tonal cognition, Emmanuel Bigand & Benedicte Poulin-Charronat
7. The perception of musical timbre, Stephen McAdams & Bruno L Giordano
8. Musical time, Mari Riess Jones
9. Components of melodic processing, Mark A Schmuckler
10. Memory for music, Bob Snyder
Part III - Responses to Music edited by Donald Hodges
11. Bodily responses to music, Donald A Hodges
12. Emotional responses to music, Patrik N Juslin
13. The relationship between musical structure and perceived expression, Alf Gabrielsson
14. Aesthetics, David Huron
15. Musical preferences, Alexandra Lamont & Alinka Greasley
Part IV - Music and the Brain edited by Aniruddh Patel
16. The neurobiological basis of musical expectations, Laurel J Trainor & Robert J Zatorre
17. Disorders of musical cognition, Lauren Stewart, Katharina von Kriegstein, Simone Dalla Bella, Jason D Warren & Timothy D Griffiths
18. Music, musicians and brain plasticity, Gottfried Schlaug
19. Music and the brain: three links to language, Aniruddh D Patel
Part V - Musical Development edited by David Hargreaves
20. Prenatal development and the phylogeny and ontogeny of musical behaviour, Richard Parncutt
21. Music lessons from infants, Sandra E Trehub
22. Music in the school years, Alexandra Lamont
23. The impact of music instruction on other skills, Frances H Rauscher
Part VI - Learning Musical Skills edited by Susan Hallam
24. Musical potential, Gary McPherson & Susan Hallam
25. Practising, Harald Jorgensen & Susan Hallam
26. Individuality in the learning of musical skills, Helena Gaunt & Susan Hallam
27. Motivation to learn, Susan Hallam
28. The role of the family in support learning, Andrea Creech
29. The role of the institution and teachers in supporting learning, Graham Welch & Adam Ockelford
Part VII - Musical Performance edited by Richard Parncutt
30. Measurement and models of performance, W Luke Windsor
31. Planning and performance, Eckart Altenmueller & Sabine Schneider
32. Sight-reading, Andreas C Lehmann & Reinhard Kopiez
33. Performing from memory, Roger Chaffin, Topher Logan & Kristen T Begosh
34. Movement and collaboration in musical performance, Jane W Davidson
35. Emotion in music performance, Patrik N Juslin
36. Optimising physical and psychological health in performing musicians, Dianna T Kenny & Bronwen Ackermann
Part VIII - Composition and Improvisation edited by Peter Webster
37. Making a mark: the psychology of composition, Jonathan Impett
38. Musical improvisation, Richard Ashley
39. Children as creative thinkers in music: focus on composition, Peter R Webster
Part IX - The Role of Music in our Everyday Lives edited by John Sloboda
40. Choosing to hear music: motivation, process and effect, John Sloboda, Alexandra Lamont & Alinka Greasley
41. Music in performance arts: film, theatre and dance, Annabel J Cohen
42. Peak experiences in music, John Whaley, John Sloboda & Alf Gabrielsson
43. Musical identities, Raymond MacDonald, David J Hargreaves & Dorothy Miell
44. The effects of music and community and educational settings, Susan Hallam & Raymond MacDonald
45. Music and consumer behaviour, Adrian C North & David J Hargreaves
Part X - Music Therapy edited by Michael Thaut
46. Music therapy: processes of music therapy, Shannon de l'Etoile & Alicia Clair
47. Clinical practice in music therapy, Corene Hurt-Thaut
48. Research and evaluation in music therapy, Barbara Wheeler
49. Music therapy in medical and neurological rehabilitation settings, Anne Kathrin Leins, Ralph Spintge & Michael Thaut
Part XI - Conceptual Frameworks, Research Methods and Future edited by Susan Hallam, Ian Cross & Michael Thaut
50. Beyond music psychology, Adam Ockelford
51. History and research, Michael Thaut
52. Where now?, Susan Hallam, Ian Cross & Michael Thaut

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