The Social and Applied Psychology of Music / Edition 1

The Social and Applied Psychology of Music / Edition 1

by Adrian North, David Hargreaves
     
 

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ISBN-10: 0198567421

ISBN-13: 9780198567424

Pub. Date: 08/15/2008

Publisher: Oxford University Press

Music is so ubiquitous that it can be easy to overlook the powerful influence it exerts in so many areas of our lives - from birth, through childhood, to old age. The Social and Applied Psychology of Music is the successor to the bestselling and influential Social Psychology of Music. It considers the value of music in everyday life, answering some of the perennial

Overview

Music is so ubiquitous that it can be easy to overlook the powerful influence it exerts in so many areas of our lives - from birth, through childhood, to old age. The Social and Applied Psychology of Music is the successor to the bestselling and influential Social Psychology of Music. It considers the value of music in everyday life, answering some of the perennial questions about music.

The book begins with a scene-setting chapter that describes the academic background to the book, before looking at composition and musicianship. It then goes on to look at musical preference. What aspects of music are crucial in determining whether or not you will like it?

In chapter 4 the authors consider whether rap and rock are bad for young people, highlighting some of the major moral scandals that have rocked pop music, and asks whether these have become more extreme over time. The following chapter looks at music as a commercial product. How does the structure of the music industry affect the music that we hear on the radio and buy?

The book closes with an examination of music education. How does musical ability develop in children, and how does this relate to more general theories of how intellectual skills develop? Do musical skills develop independently of other abilities?

Exceptionally broad in scope, and written in a highly accessible style by the leading researchers in this field, The Social and Applied Psychology of Music will be required reading for anyone seeking an understanding of the role music plays in our lives.

The book closes with a examination of music education. How does musical ability develop in children, and how does this relate to more general theories of how intellectual skills develop? Do musical skills develop independently of other abilities?

Product Details

ISBN-13:
9780198567424
Publisher:
Oxford University Press
Publication date:
08/15/2008
Edition description:
New Edition
Pages:
496
Product dimensions:
6.10(w) x 9.10(h) x 1.00(d)

Table of Contents

Preface v

1 The social and applied psychology of music 1

2 Composition and musicianship 13

2.1 Creativity 14

2.1.1 The concept of creativity 14

2.1.2 The creative process 15

2.1.3 Theories of creativity 17

2.2 Composition, eminence, and fashion 23

2.2.1 Biographical influences on composition and eminence 25

2.2.2 The clockwork muse 32

2.2.3 Melodic originality and eminence 37

2.2.4 Collaboration 40

2.3 Musicianship 42

2.3.1 Personality and identity 42

2.3.2 Environment, motivation, and musical skill 51

2.3.3 Performance 60

2.3.4 The 'Mozart effect' 70

3 Musical preference and taste 75

3.1 The music 75

3.1.1 Experimental aesthetics 76

3.1.2 Subjective complexity and repetition 81

3.1.3 Preference for prototypes 84

3.2 The listening situation 89

3.2.1 Konecni's arousal-based approach 89

3.2.2 Appropriateness, typicality, and arousal-based goals 93

3.2.3 Compliance and prestige 97

3.3 The listener 101

3.3.1 Social class, taste publics, and massification 102

3.3.2 Age 106

3.3.3 Sex 113

3.3.4 Personality 115

3.3.5 Musical training and ability 122

3.4 The reciprocal response model 123

3.5 Emotional responses to music 126

3.5.1 The circumplex model 128

3.5.2 Intrinsic and extrinsic meaning 132

3.5.3 Strong experiences of music 136

3.6 Music in everyday life 138

4 'Problem music' and subcultures 143

4.1 Campaigns and protests: the filth and the fury 144

4.1.1 Media effects and adolescent stereotyping 151

4.2 Prevalence and content of pop music media 153

4.2.1 Prevalence of pop music 154

4.2.2 Content of pop music 156

4.3 Effects of problem music en thoughts and behaviours 165

4.3.1 Delinquency andcriminality 166

4.3.2 Illegal drugs 174

4.3.3 Permissive sexual attitudes 183

4.3.4 Sexual and racial discrimination 186

4.3.5 Self-harm and suicide 193

4.3.6 (Mis)Interpretation of lyrics 200

4.4 Is there a case for censorship? 205

4.4.1 Biases in the evaluation of problem music 205

4.4.2 Summary and implications for censorship 211

4.5 Musical subcultures 217

4.5.1 Music as a 'badge' 218

4.5.2 The uses and gratifications approach 225

4.5.3 Idolisation of musicians 229

5 Music, business, and health 237

5.1 The music industry 238

5.1.1 Tin Pan Alley and music industry innovation 238

5.1.2 Superstardom 242

5.1.3 Music purchasing 244

5.1.4 Music piracy 250

5.1.5 Radio programming 254

5.2 Music and advertising 256

5.2.1 Classical conditioning 257

5.2.2 Elaboration likelihood, involvement, and musical fit 258

5.2.3 Sonic branding, jingles, and sponsorship 264

5.3 Music in commercial environments 267

5.3.1 Pleasure and arousal-based effects 270

5.3.2 Knowledge activation effects 278

5.3.3 Time perception and waiting 283

5.3.4 Workplace morale and productivity 292

5.4 Music and health 297

5.4.1 Models of music therapy 298

5.4.2 Music and physical health 301

6 Musical development and education 313

6.1 Musical development 315

6.1.1 The socio-cultural perspective 315

6.1.2 Biological predispositions and the social context 326

6.1.3 Does musical and artistic development proceed in stages? 327

6.1.4 Is musical development domain-specific? 330

6.1.5 Normative and expert development in music 332

6.1.6 Theoretical models of musical development 333

6.2 Music education 338

6.2.1 Contexts of music education 339

6.2.2 Aims and objectives 345

6.2.3 Learning and teaching 349

6.3 Conclusion 355

7 Concluding remarks 357

References 361

Name Index 445

Subject Index 467

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