The Psychology of Music / Edition 3

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Overview

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. Since publication of the First Edition of The Psychology of Music, the field has emerged from an interdisciplinary curiosity into a fully ramified subdiscipline of psychology as a result of several factors. First, the opportunity to generate, analyze, and transform sounds by computer is no longer limited to a few researchers with access to large multi-user facilities, but is now available to individual investigators on a widespread basis. Second, dramatic advances in the field of neuroscience have profoundly influenced thinking about the way the brain processes music. Third, collaborations between psychologists and musicians, which were evolving at the time the First Edition was written, are now quite common, and to a large extent these two groups speak a common language and agree on basic philosophical issues.
The Psychology of Music, Second Edition has been completely revised to bring the reader the most up-to-date information and additional subject matter, and new contributions examine all of these important developments.
  • 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

Audience: Musicians; psychologists; students interested in and studying the psychology of music.

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Editorial Reviews

From the Publisher
"Chapter titles show continuing interest in many of the traditional topics--rhythm, melody, scales, musical ability, the nature of sound--and also in newer areas of inquiry, e.g., the neuropsychological study of musical perception. The editor has succeeded admirably in making this edition a valuable and timely resource for musicians and psychologists at the upper-division undergraduate level and above."
--CHOICE, reviewed by W. M. Bigham, Emeritus, Morehead State University, March 1999
"I have on the shelf next to my desk several dozen excellent books about music perception and cognition, but none is more dog-eared or more used than The Psychology of Music, first edition. With that 1982 text, Deutsch accomplished for our field what Neisser did for cognitive psychology in 1967. By her choice of topics and authors, Deutsch made a bold claim to define those problems that ought to interest us (and in fact did). The Second Edition includes five excellent new chapters (worth the price of the book on their own) and substantially updated versions of the remaining 13 chapters. 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."
--Daniel J. Levitin, Stanford University and The University of California at Berkeley in MUSIC PERCEPTION, Vol. 16, #4, 1999
"This Second Edition is a significant update of the First Edition and is sure to maintain its position as one of the most useful collections of literature about the psychology of music."
--AUSTRALIAN JOURNAL OF PSYCHIATRY
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Product Details

  • ISBN-13: 9780123814609
  • Publisher: Elsevier Science
  • Publication date: 12/4/2012
  • Series: Cognition and Perception Series
  • Edition description: New Edition
  • Edition number: 3
  • Pages: 786
  • Product dimensions: 6.00 (w) x 9.00 (h) x 1.60 (d)

Meet the Author

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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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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