Oxford Handbook of Music Psychology

, & (eds.)
Oxford University Press (2008)
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Abstract

The Oxford Handbook of Music Psychology is the definitive, comprehensive, and authoritative text on this burgeoning field. With contributions from over fifty experts in the field, the range and depth of coverage is unequalled. It will be an essential resource for students and researchers in psychology.

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2011

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9780199298457   9780199604975   0199604975   0199298459   0198818831
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Chapters

Aesthetics.David Huron
B ODILY responses are among the core, common experiences of music. To observe people at a rock concert or watching a marching band, is to observe heads nodding, feet tapping.Donald A. Hodges
Basic psychophysics of pitch perception.Thomas Stainsby & Ian Cross
Beyond music psychology.Adam Ockelford
Bodily responses to music.Donald A. Hodges
Children as creative thinkers in music: focus on composition.Peter R. Webster
Choosing to hear music: motivation, process and effect.John Sloboda, Alexandra Lamont & Greasley & Alinka
Clinical practice in music therapy.Corene Hurt-Thaut
Components of melodic processing.Mark A. Schmuckler
Disorders of musical cognition.Lauren Stewart, Katharina von Kriegstein, Simone Dalla Bella, Jason D. Warren & Griffiths & D. Timothy
Emotion in music performance.Patrik N. Juslin
Emotional responses to music.Patrik N. Juslin
History and research.Michael Thaut
Individuality in the learning of musical skills.Helena Gaunt & Hallam & Susan
MUSIC has been linked to the emotions at least since Ancient Greece, and emotions do figure prominently in people's reported motives for listening to music. People use.Patrik N. Juslin
Making a mark: the psychology of composition.Jonathan Impett
Measurement and models of performance.L. W. Windsor
Measurement and models of performance.W. Luke Windsor
Memory for music.Bob Snyder
Motivation to learn.Susan Hallam
Movement and collaboration in musical performance.Jane W. Davidson
Music and consumer behaviour.Adrian C. North & Hargreaves & J. David
Music and meaning.Ian Cross & Tolbert & Elizabeth
Music and the brain: three links to language.Aniruddh D. Patel
Music in performance arts: film, theatre and dance.Annabel J. Cohen
Music in the school years.Alexandra Lamont
Music lessons from infants.Sandra E. Trehub
Music therapy in medical and neurological rehabilitation settings.Anne Kathrin Leins, Ralph Spintge & Thaut & Michael
Music therapy: processes of music therapy.Shannon de L'Etoile & Clair & Alicia
Music, musicians and brain plasticity.Gottfried Schlaug
Musical identities.Raymond MacDonald, David J. Hargreaves & Miell & Dorothy
Musical improvisation.Richard Ashley
Musical potential.Gary McPherson & Hallam & Susan
Musical preferences.Alexandra Lamont & Greasley & Alinka
Musical time.Mari Riess Jones
Musicians and non-musicians: their brains differ.Gottfried Schlaug
Optimising physical and psychological health in performing musicians.Dianna T. Kenny & Ackermann & Bronwen
Peak experiences in music.John Whaley, John Sloboda & Gabrielsson & Alf
Performing from memory.Roger Chaffin, Topher Logan & Begosh & T. Kristen
Planning and performance.Eckart Altenmueller & Schneider & Sabine
Practising.Harald Jorgensen & Hallam & Susan
Prenatal development and the phylogeny and ontogeny of musical behaviour.Richard Parncutt
Research and evaluation in music therapy.Barbara Wheeler
Sight-reading.Andreas C. Lehmann & Kopiez & Reinhard
THE relationship between structure and expression in music has been discussed by philosophers and music theorists ever since antiquity, but empirical research did not start until about one hundred years ago. Most of this research is limited to Western classical.Alf Gabrielsson
THEterm tonal music can be applied to a large variety of musical styles in the West. This includes that of the four periods (Baroque, Classical, Romantic, and Modern) into which Western art-music is commonly divided, as well as other musical styles from popular.Emmanuel Bigand & Bénédicte Poulin-Charronnat
THIS chapter presents perspectives on perception of metre and rhythm, with a focus on dynamic attending theory (DAT). Three major sections address, respectively, metre perception, rhythm perception, and the role of time markers.Mari Riess Jones
TIMBREis a misleadingly simple and vague word encompassing a very complex set of auditory attributes, as well as a plethora of psychological and musical issues. It covers.Stephen McAdams & Bruno L. Giordano
The effects of music and community and educational settings.Susan Hallam & MacDonald & Raymond
The nature of music and its evolution.Ian Cross
The neurobiological basis of musical expectations.Laurel J. Trainor & Zatorre & J. Robert
The perception of musical timbre.Stephen McAdams & Giordano & L. Bruno
The perception of pitch.Thomas Stainsby & Cross & Ian
The relationship between musical structure and perceived expression.Alf Gabrielsson
The role of the family in support learning.Andrea Creech
The role of the institution and teachers in supporting learning.Graham Welch & Ockelford & Adam
The social and personal functions of music in cross-cultural perspective.Martin Clayton
Tonal cognition.Emmanuel Bigand & Poulin-Charronat & Benedicte
Universals in music processing.Catherine Stevens & Byron & Tim
WHAT is the difference between 'learning'a new piece of music and 'memorizing 'it? Both involve memory, but of different kinds. The memories that develop spontaneously'.Roger Chaffin, Topher R. Logan & Kristen T. Begosh
Where now?Susan Hallam, Ian Cross & Thaut & Michael
The impact of music instruction on other skills.  (pages 244--252)Frances H. Rauscher

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Cognitive science and the cultural nature of music.Ian Cross - 2012 - Topics in Cognitive Science 4 (4):668-677.

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