Buch, Englisch, 456 Seiten, Format (B × H): 156 mm x 234 mm, Gewicht: 682 g
Buch, Englisch, 456 Seiten, Format (B × H): 156 mm x 234 mm, Gewicht: 682 g
ISBN: 978-0-19-852936-1
Verlag: OUP Oxford
Music is a powerful means of communication. It provides a means by which people can share emotions, intentions, and meanings even though their spoken languages may be mutually incomprehensible. It can also provide a vital lifeline to human interaction for those whose special needs make other means of communication difficult. Music can exert powerful physical effects, can produce deep and profound emotions within us, and can be used to generate infinitely subtle variations of expressiveness by skilled composers and performers.
This new addition to the music psychology list brings together leading researchers from a variety of academic and applied backgrounds. It examines how music can be used to communicate and the biological, cognitive, social, and cultural processes which underlie such communication. Taking a broad, interdisciplinary look at all aspects of communication, from the symbolic aspects of musical notation, to the use of music in advertising, the book is the first of its kind. It will be valuable for all those involved in music psychology, music education, and communication studies.
Autoren/Hrsg.
Fachgebiete
- Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musiktheorie, Musikästhetik, Kompositionslehre
- Sozialwissenschaften Psychologie Allgemeine Psychologie Entwicklungspsychologie
- Sozialwissenschaften Psychologie Psychologie / Allgemeines & Theorie Geschichte der Psychologie
- Sozialwissenschaften Pädagogik Schulen, Schulleitung Kindergarten & Vorschule
- Sozialwissenschaften Psychologie Psychologie / Allgemeines & Theorie Experimentelle Psychologie
- Sozialwissenschaften Pädagogik Pädagogik Pädagogische Psychologie
Weitere Infos & Material
- 1: David J. Hargreaves, Raymond MacDonald and Dorothy Miell: How do people communicate using music?
- 2: Ian Cross: Music and meaning, ambiguity and evolution
- 3: R. Keith Sawyer: Music and conversation
- Cognition, Representation and Communication
- 4: Annabel J. Cohen: Musical cognition: defining constraints on musical communication
- 5: Patrik N. Juslin: From mimesis to catharsis: expression, perception and induction of emotion in music
- 6: Margaret Barrett: Representation, cognition and musical communication: invented notation in children's musical communication
- 7: Jeanne Bamberger: How the conventions of music notation shape musical perception and performance
- Embodied Communication
- 8: Michael H. Thaut: Rhythm, human temporality and brain function
- 9: Gary Ansdell: Musical companionship, musical community: music therapy and the process and value of musical communication
- 10: Jane Davidson: Bodily communication in musical performance
- 11: Graham F. Welch: Singing as communication
- Communication in Learning and Education
- 12: Margaret Barrett: Musical communication and chnildren's communities of musical practice
- 13: Susan Young: Musical communication between adults and young children
- 14: Charles Byrne: Pedagogical communication in the music classroom
- Cultural Contexts of Communication
- 15: Raymond MacDonald, Dorothy Miell and Graeme Wilson: Talking about music: a vehicle for identity development
- 16: Janis McNair and John Powles: Hippies vs hip-hop heads: an exploration of music's ability to communicate an alternative political agenda from the perspective of two divergent musical genres
- 17: Martin Clayton: Communication in Indian raga performance
- 18: Scott D. Lipscomb and David E. Tolchinsky: The role of music communication in cinema
- 19: Adrian C. North and David J. Hargreaves: Musical communication in commercial contexts
