Psychology of Music

From Sound to Significance
3. Auflage 2025
ISBN: 978-1-032-26409-7
Verlag: Routledge

Buch, Englisch, 444 Seiten, Format (B × H): 170 mm x 244 mm, Gewicht: 764 g

From the physical vibrations of sound to the perplexing questions of how music conveys meaning, Psychology of Music: From Sound to Significance takes readers on a wide-ranging exploration of this vibrant multidisciplinary field of study. Now in its third edition, the book emphasizes meaningful links between academic learning and real-world contexts, pointing readers towards intriguing strands of research in both basic and applied areas that are highlighted throughout.

In this new edition, the authors apply the same richness of depth and scope that were the hallmarks of the previous editions of this text, exploring the foundations of music psychology; the perception and cognition of music; development, learning, and performance; and the meaning and significance of music.

Key features include:

- More than 450 new citations to reflect advances in the field

- New boxes exploring topics such as the musical experience of cochlear implant users, pitch and rhythm perception in animals, gene-environment interplay, and the benefits of music in medical and therapeutic contexts

- An expanded appendix including many new tried-and-tested projects and exercises for instructors

This book continues to be invaluable to both psychology and music undergraduate and postgraduate students and instructors, and will appeal to anyone interested in the vital and expanding field of psychology of music.

Zielgruppe

Postgraduate, Professional, and Undergraduate

Autoren/Hrsg.

Tan, Siu-Lan

Pfordresher, Peter

Harré, Rom

Fachgebiete

• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musikethnologie
• Sozialwissenschaften Psychologie Psychologische Disziplinen Angewandte Psychologie
• Geisteswissenschaften Musikwissenschaft Musikwissenschaft Allgemein Musiktheorie, Musikästhetik, Kompositionslehre
• Sozialwissenschaften Psychologie Allgemeine Psychologie Kognitionspsychologie

Inhaltsverzeichnis

Introduction 1. The scope of psychology of music. PART I Foundations. 2. The acoustics of music. 3. Music perception and the auditory system. 4 Cognitive neuroscience of music. PART II Perception and cognition of music. 5. Perception of musical pitch and melody. 6. Perception of musical time. 7. Understanding musical structure. PART II Development, learning, and performance. 8. Emergence of music perception.9. Early musical development. 10 Practice and musical expertise. 11. The psychology of music performance. PART IV The meaning and significance of music. 12. The social psychology of music. 13. Meaning in music. 14. The emotional power of music. Final Coda. 15. From sound to significance: Looking forward. Appendix: The chapters in action: Exercises and assignments.

Über Autor(innen)

Siu-Lan Tan is Professor of Psychology at Kalamazoo College in Michigan, USA. She completed degrees in Music, graduate studies at Oxford University, and a Ph.D. in Psychology at Georgetown University. She has published research on musical form, music notation, and film music, is co-editor of The Psychology of Music in Multimedia and The Oxford Handbook of Music and Advertising, and appears in 'Score: A Film Music Documentary'.

Peter Pfordresher is Professor of Psychology at SUNY Buffalo in New York, USA. He completed his Ph.D. in Psychology at the Ohio State University. His research on the relationship between perception and action in music has been published in psychology, music cognition, and music education journals, and he has received support from the National Science Foundation. He sings and plays piano, guitar, and the trumpet.

Rom Harré (1927–2019) held appointments in many institutions around the world, including Fellow at Oxford University, Distinguished Research Professor of Psychology at Georgetown University, and Director of the Centre for the Philosophy of the Natural and Social Sciences at the London School of Economics, and authored or edited over 65 scholarly books in numerous fields. For many years, he played clarinet and saron in amateur Western and Indonesian gamelan ensembles.