Oxford Handbook of Music Psychology

by Susan Hallam (Editor), Ian Cross (Editor), Michael Thaut (Editor)

Overview

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.

Product Details

ISBN-13:	9780191620744
Publisher:	OUP Oxford
Publication date:	05/26/2011
Series:	Oxford Library of Psychology
Sold by:	Barnes & Noble
Format:	eBook
File size:	23 MB
Note:	This product may take a few minutes to download.

About the Author

Susan Hallam is Professor of Education at the Institute of Education, University of London and currently Dean of the Faculty of Policy and Society. She pursued careers as both a professional musician and a music educator before completing her psychology studies and becoming an academic in 1991 in the department of Educational Psychology at the Institute. Her research interests include disaffection from school, ability grouping and homework and issues relating to learning in music, practising, performing, musical ability, musical understanding and the effects of music on behaviour and studying. She is past editor of Psychology of Music, Psychology of Education Review and Learning Matters. She has twice been Chair of the Education Section of the British Psychological Society, and is currently treasurer of the British Educational Research Association, an auditor for the Quality Assurance Agency and an Academician of the Learned Societies for the Social Sciences Ian Cross teaches at the University of Cambridge where he is Reader in Music&Science, Director of the Centre for Music&Science and a Fellow of Wolfson College. He has published widely in the field of music cognition. His principal research focus at present is on music as a biocultural phenomenon, involving collaboration with psychologists, anthropologists, archaeologists and computational neuroscientists. His research explores the biological and cultural bases for human musicality, in particular, the mechanisms underlying the capacity for achievement and maintenance of inter-individual synchrony of behaviour, those underlying the experience of meaning in engagement with music, and those involved in the cognition and perception of multi-levelled structure in both music and language. Michael H Thaut received his masters and PhD in music from Michigan State University. He is also a graduate of the Mozarteum Music Conservatory in Salzburg/Austria. At Colorado State University he is a Professor of Music and a Professor of Neuroscience and serves as Executive Director of the School of the Arts and Chairman of the Dept of Music, Theater, and Dance. He has also directed the Center for Biomedical Research in Music for 12 years. Dr Thaut's internationally recognized research focuses on brain function in music, especially time information processing in the brain related to rhythmicity and biomedical applications of music to neurologic rehabilitation of cognitive and motor function. He has received both the National Research Award and the National Service Award from the American Music Therapy Association. He is an elected member of the World Academy of Multidisciplinary Neurotraumatology and in 2007 he was elected President of the International Society for Clinical Neuromusicology.

Table of Contents

Part 1: The origins and functions of music1. The nature of music and its evolution, Ian Cross2. Universals in music processing: Entrainment, acquiring expectations and learning, Catherine J. Stevens and Tim Bryon3. Music and meaning, Ian Cross and Elizabeth Tolbert4. The social and personal functions of music in cross-cultural perspective, Martin ClaytonPart 2: Music perception5. The perception of pitch, Thomas Stainsby & Ian Cross6. Absolute pitch, Psyche Loui7. Tonal cognition, Emmanuel Bigand and Benedicte Poulin-Charronnat8. The perception of musical timbre, Stephen McAdams and Bruno L. Giordano9. Musical time, Mari Riess Jones10. Tonality and contour in melodic processing, Mark A. Schmuckler11. Memory for music, Bob SnyderPart 3: Responses to music12. Bodily Responses to Music, Donald A. Hodges13. Emotional reactions to music, Patrik N. Juslin14. The relationship between musical structure and perceived expression, Alf Gabrielsson15. Aesthetics, David Huron16. The neuroaesthetics of music, Donald A. Hodges17. Musical preferences, Alika Greasley and Alexandra LamontPart 4: Music and the Brain18. The neurobiology of musical expectations from perception to emotion, Laurel J. Trainor and Robert J. Zatorre19. Disorders of music cognition, Psyche Loui20. Music and brain plasticity, Simone Dalla Bella21. The relationship between music and language, Sebastian Jentschke22. The neuroscience of rhythm, Daniel J. Cameron and Jessica A. GrahnPart 5: Musical development23. Prenatal development and the phylogeny and ontogeny of musical behaviour, Richard Parncutt24. Infant musicality, Sandra E. Trehub25. Music development from the early years onwards, Alexandra Lamont26. Music training and nonmusical abilities, E. Glenn SchellenbergPart 6: Learning musical skills27. Musical potential, Gary McPherson and Susan Hallam28. Practicing, Harald Jorgensen and Susan Hallam29. Individuality in the learning of musical skills, Helena Gaunt and Susan Hallam30. Motivation to learn, Susan Hallam31. The role of the family in supporting learning, Andrea Creech32. The role of the institution and teachers in supporting learning, Graham Welch and Adam OckelfordPart 7: Musical performance33. Planning and performance, Eckart Altenmuller & Shinichi Furuya34. Sight reading, Andreas Lehmann and Reinhardt Kopiez35. Performing from memory, Roger Chaffin, Alexander P. Demos and Topher Logan36. Bodily Mediated Coordination, Collaboration, and Communication in Music Performance, Jane W. Davidson and Mary C. Broughton37. Emotion in music performance, Patrik N. Juslin and Erik Lindstrom38. Expression and communication of structure in music performance: measurements and models, Erica Bisesi and W. Luke Windsor39. Optimizing physical and psychological health in performing musicians, Dianna Theadora Kenny and Bronwen J. AckermannPart 8: Composition and improvisation40. Making a mark: The psychology of composition, Jonathan Impett41. Musical Improvisation, Richard Ashley42. Pathways to the Study of Music Composition by Preschool to Precollege Students, Peter R. WebsterPart 9: The role of music in our everyday lives43. Choosing to hear music: motivation, process, and effect, Alexandra Lamont, Alika Greasley and John Sloboda44. Music in performance arts: Film, theatre and dance, Annabel J. Cohen45. Peak experiences with music, Alf Gabrielsson, John Whaley and John Sloboda46. Musical identities, David J. Hargreaves, Raymond MacDonald and Dorothy Miell47. The effects of music in community and education settings, Susan Hallam and Raymond MacDonald48. Music and consumer behavior, Adrian C. North, David J. Hargreaves and Amanda E. KrausePart 10: Music Therapy49. Processes of music therapy: Clinical and Scientific Rationales and Models, Shannon De l'Etoile50. Clinical Practice in music therapy, Corene Hurt-Thaut51. Research in music therapy, Barabara L. Wheeler52. Music Therapy in Medical and Neurological Rehabilitation Settings, Stefan Mainka, Ralph K. W. Spintge and Michael ThautPart 11: Conceptual frameworks, research methods and future directions53. Beyond Music Psychology, Adam Ockelford54. History and research, Michael Thaut55. Where now?, Susan Hallam, Ian Cross and Michael Thaut

Editorial Reviews

"...it is a scholarly, wholly academic text...The Oxford Handbook of Music Psychology is to be recommended without hesitation." —Classical Net

From the Publisher