Deutsch Psychology of Music

1. Auflage 2013
ISBN: 978-1-4832-9273-1
Verlag: Elsevier Science & Techn.
Format: PDF
Kopierschutz: 1 - PDF Watermark

E-Book, Englisch, 542 Seiten, Web PDF

Reihe: Cognition and Perception

Approx.542 pages

Autoren/Hrsg.

Deutsch, Diana

Inhaltsverzeichnis

1;Front Cover;1
2;The Psychology of Music;4
3;Copyright Page;5
4;Table of Contents;6
5;List of Contributors;12
6;Preface;14
7;Chapter 1. The Perception of Musical Tones;20
7.1;I. The Psychoacoustics of Music;20
7.2;II. Perceptual Attributes of Single Tones;25
7.3;III. Perceptual Attributes of Simultaneous Tones;33
7.4;IV. Conclusion;40
7.5;References;40
8;Chapter 2. Exploration of Timbre by Analysis and Synthesis;44
8.1;I. Timbre;45
8.2;II. Timbre and the Fourier Spectrum: The Classical View;45
8.3;III. The Shortcomings of the Classical Conception;48
8.4;IV. Attack Transients;49
8.5;V. Complexity of Sounds: Importance of Characteristic Features;49
8.6;VI. Instrumental and Vocal Timbres: Additive Synthesis;49
8.7;VII. Cross Synthesis and Voice Synthesis;55
8.8;VIII. Additive Synthesis: Percussion Instruments;56
8.9;IX. Substractive Synthesis;58
8.10;X. Acoustic Modeling as a Synthesis Technique;60
8.11;XI. The Importance of Context;61
8.12;XII. Analysis-Synthesis as Fitting Acoustic and Perceptual Models to Data;63
8.13;XIII. The Use of Analysis-Synthesis Models of Timbre;64
8.14;XIV. Timbral Space;66
8.15;XV. Conclusion;68
8.16;Appendix: Signal Representations and Analysis-Synthesis Processes;69
8.17;References;73
9;Chapter 3. Perception of Singing;78
9.1;I. Introduction;78
9.2;II. Function of the Voice;79
9.3;III. Resonatory Aspects;81
9.4;IV. Phonation;95
9.5;V. Vibrato;101
9.6;VI. Pitch Accuracy in Singing Practice;108
9.7;VII. Phrasing and Emotion;110
9.8;VIII. Concluding Remarks;113
9.9;Acknowledgments;114
9.10;References;114
10;Chapter 4. Grouping Mechanisms in Music;118
10.1;I. Introduction;118
10.2;II. Grouping Principles;119
10.3;III. Two-Channel Listening to Melodic Sequences;120
10.4;IV. Channeling of Rapid Sequences of Single Tones;137
10.5;V. Voluntary Attention;146
10.6;VI. Conclusion;149
10.7;References;149
11;Chapter 5. The Listener and the Acoustic Environment;154
11.1;I. Introduction;154
11.2;II. Methodology;156
11.3;III. Level Effects of Indirect Sound: Loudness;159
11.4;IV. Temporal Effects of Indirect Sound: Definition;160
11.5;V. Spatial Effects of Indirect Sound: Spaciousness;161
11.6;VI. The Compromise between Definition and Spaciousness;164
11.7;VII. Conclusion;165
11.8;References;165
12;Chapter 6. Rhythm and Tempo;168
12.1;I. Definitions;168
12.2;II. Rhythm and Spontaneous Tempo;170
12.3;III. Rhythmic Forms;176
12.4;IV. The Perception of Musical Rhythms;189
12.5;V. Conclusion;194
12.6;References;196
13;Chapter 7. Timing by Skilled Musicians;200
13.1;1. Perception, Production, and Imitation of Fractions of the Beat;201
13.2;II. Perceptual Judgment of Beat Fractions;206
13.3;III. Production of Beat Fractions;217
13.4;IV. Imitation of Beat Fractions;226
13.5;V. A Shared-Process Model of the Perception, Production, and Imitation of Beat Fractions;231
13.6;VI. Further Analysis of Perceptual Judgment;234
13.7;VII. Further Analysis of Production;243
13.8;VIII. Summary;248
13.9;Glossary;250
13.10;Appendix;250
13.11;References;256
14;Chapter 8. Intervals, Scales, and Tuning;260
14.1;I. Introduction;260
14.2;II. Are Scales Necessary?;262
14.3;III. Musical Interval Perception;265
14.4;IV. Natural Intervals and Scales;274
14.5;V. Conclusions and Caveats;283
14.6;Acknowledgments;284
14.7;References;284
15;Chapter 9. The Processing of Pitch Combinations;290
15.1;1. Introduction;290
15.2;II. Feature Abstraction;291
15.3;III. Higher Order Abstractions;301
15.4;IV. Alphabets and Hierarchies;306
15.5;V. Memory Systems;310
15.6;VI. Conclusions;330
15.7;References;331
16;Chapter 10. Melodic Processes and the Perception of Music;336
16.1;I. The Perception and Classification of Two Archetypal Melodic Processes;336
16.2;II. Experimental Findings;345
16.3;III. Implications;358
16.4;References;359
17;Chapter 11. Structural Representations of Musical Pitch;362
17.1;I. Introduction;363
17.2;II. Unidimensional Approaches to Pitch;363
17.3;III. Potentially Multidimensional Approaches to Pitch;366
17.4;IV. The Spatial Representation of Pitch;369
17.5;V. Illustrative Analyses of Empirical Data;384
17.6;VI. Discussion;388
17.7;Acknowledgments;404
17.8;References;404
18;Chapter 12. Musical Ability;410
18.1;I. Concepts of Musical Ability;410
18.2;II. Correlational and Factorial Studies of Musical Ability;412
18.3;III. Musical Ability and Other Intellectual Abilities;423
18.4;References;427
19;Chapter 13. Melodic Information Processing and Its Development;432
19.1;I. Introduction;432
19.2;II. Development;434
19.3;III. Adult Memory;440
19.4;IV. Contour versus Interval;446
19.5;V. Summary;446
19.6;Acknowledgments;447
19.7;References;447
20;Chapter 14. Absolute Pitch;450
20.1;I. Introduction;450
20.2;II. Genesis of AP;453
20.3;III. Measurement of AP;455
20.4;IV. Stability of the Internal Standard;463
20.5;V. Learning AP;464
20.6;VI. The Value of AP;466
20.7;References;468
21;Chapter 15. Neurological Aspects of Music Perception and Performance;472
21.1;I. Introduction;472
21.2;II. Amusia;473
21.3;III. Auditory Agnosia and Verbal Deafness;481
21.4;IV. General Comments;485
21.5;References;492
22;Chapter 16. Music Performance;498
22.1;I. Introduction;498
22.2;II. The Nature of Performance Plans;499
22.3;III. Acquisition of Performance Plans;502
22.4;IV. The Role of Feedback in Performance;507
22.5;V. Social Factors in Performance;510
22.6;VI. Summary;513
22.7;References;513
23;Chapter 17. Social Interaction and Musical Preference;516
23.1;I. Introduction;516
23.2;II. Effects of Social Stimulation on Aesthetic Choice;521
23.3;III. Effects of Information Load and Arousing Nonsocial Stimulation on Aesthetic Choice;524
23.4;IV. Effects of Listening to Melodies Differing in Complexity on Emotional States and Social Behavior;526
23.5;V. Listeners' Sequencing and "Chunking" of Musical Materials and the Use of Music for Mood Optimization;530
23.6;References;534
24;Chapter 18. New Music and Psychology;536
24.1;I. Introduction;536
24.2;II. Music Theory and Music;538
24.3;III. Understanding Tonality;539
24.4;IV. Music and Perceptual Streaming;542
24.5;V. Fused Sounds in Music;548
24.6;VI. Music Theory and Experimental Science;553
24.7;References;554
25;Index;556