The Oxford Handbook of Music Psychology

Herausgeber: Hallam, Susan; Thaut, Michael; Cross, Ian

• Broschiertes Buch

Produktbeschreibung

The 2nd edition of the Oxford Handbook of Music Psychology updates the original landmark text, providing a comprehensive review of the latest developments in this fast growing area of research. With contributions from internationally recognised experts, it is an essential resource for students and researchers in psychology.

Produktdetails

• Oxford Library of Psychology
• Verlag: Oxford University Press
• 2 Revised edition
• Seitenzahl: 976
• Erscheinungstermin: 7. Februar 2018
• Englisch
• Abmessung: 246mm x 169mm x 53mm
• Gewicht: 1696g
• ISBN-13: 9780198818830
• ISBN-10: 0198818831
• Artikelnr.: 49141120

Autorenporträt

Susan Hallam, Professor, University College London, UCL Institute of Education, Department of Lifelong and Comparative Education, London, UK Ian Cross, Professor, Centre for Music & Science Faculty of Music University of Cambridge Michael Thaut, Professor, Center for Biomedical Research in Music, Colorado State University, Fort Collins, CO, USA

Inhaltsangabe

* Part 1: The origins and functions of music
* 1: Ian Cross: The nature of music and its evolution
* 2: Catherine J. Stevens and Tim Bryon: Universals in music
processing: Entrainment, acquiring expectations and learning
* 3: Ian Cross and Elizabeth Tolbert: Music and meaning
* 4: Martin Clayton: The social and personal functions of music in
cross-cultural perspective
* Part 2: Music perception
* 5: Thomas Stainsby and Ian Cross: The perception of pitch
* 6: Psyche Loui: Absolute pitch
* 7: Emmanuel Bigand and Bénédicte Poulin-Charronnat: Tonal cognition
* 8: Stephen McAdams and Bruno L. Giordano: The perception of musical
timbre
* 9: Mari Riess Jones: Musical time
* 10: Mark A. Schmuckler: Tonality and contour in melodic processing
* 11: Bob Snyder: Memory for music
* Part 3: Responses to music
* 12: Donald A. Hodges: Bodily Responses to Music
* 13: Patrik N. Juslin: Emotional reactions to music
* 14: Alf Gabrielsson: The relationship between musical structure and
perceived expression
* 15: David Huron: Aesthetics
* 16: Donald A. Hodges: The neuroaesthetics of music
* 17: Alika Greasley and Alexandra Lamont: Musical preferences
* Part 4: Music and the Brain
* 18: Laurel J. Trainor and Robert J. Zatorre: The neurobiology of
musical expectations from perception to emotion
* 19: Psyche Loui: Disorders of music cognition
* 20: Simone Dalla Bella: Music and brain plasticity
* 21: Sebastian Jentschke: The relationship between music and language
* 22: Daniel J. Cameron and Jessica A. Grahn: The neuroscience of
rhythm
* Part 5: Musical development
* 23: Richard Parncutt: Prenatal development and the phylogeny and
ontogeny of musical behaviour
* 24: Sandra E. Trehub: Infant musicality
* 25: Alexandra Lamont: Music development from the early years onwards
* 26: E. Glenn Schellenberg: Music training and nonmusical abilities
* Part 6: Learning musical skills
* 27: Gary McPherson and Susan Hallam: Musical potential
* 28: Harald Jørgensen and Susan Hallam: Practicing
* 29: Helena Gaunt and Susan Hallam: Individuality in the learning of
musical skills
* 30: Susan Hallam: Motivation to learn
* 31: Andrea Creech: The role of the family in supporting learning
* 32: Graham Welch and Adam Ockelford: The role of the institution and
teachers in supporting learning
* Part 7: Musical performance
* 33: Eckart Altenmüller and Shinichi Furuya: Planning and performance
* 34: Andreas Lehmann and Reinhardt Kopiez: Sight reading
* 35: Roger Chaffin, Alexander P. Demos and Topher Logan: Performing
from memory
* 36: Jane W. Davidson and Mary C. Broughton: Bodily Mediated
Coordination, Collaboration, and Communication in Music Performance
* 37: Patrik N. Juslin and Erik Lindstrom: Emotion in music performance
* 38: Erica Bisesi and W. Luke Windsor: Expression and communication of
structure in music performance: measurements and models
* 39: Dianna Theadora Kenny and Bronwen J. Ackermann: Optimizing
physical and psychological health in performing musicians
* Part 8: Composition and improvisation
* 40: Jonathan Impett: Making a mark: The psychology of composition
* 41: Richard Ashley: Musical Improvisation
* 42: Peter R. Webster: Pathways to the Study of Music Composition by
Preschool to Precollege Students
* Part 9: The role of music in our everyday lives
* 43: Alexandra Lamont, Alika Greasley and John Sloboda: Choosing to
hear music: motivation, process, and effect
* 44: Annabel J. Cohen: Music in performance arts: Film, theatre and
dance
* 45: Alf Gabrielsson, John Whaley and John Sloboda: Peak experiences
with music
* 46: David J. Hargreaves, Raymond MacDonald and Dorothy Miell: Musical
identities
* 47: Susan Hallam and Raymond MacDonald: The effects of music in
community and education settings
* 48: Adrian C. North, David J. Hargreaves and Amanda E. Krause: Music
and consumer behavior
* Part 10: Music Therapy
* 49: Shannon De l'Etoile: Processes of music therapy: Clinical and
Scientific Rationales and Models
* 50: Corene Hurt-Thaut: Clinical Practice in music therapy
* 51: Barabara L. Wheeler: Research in music therapy
* 52: Stefan Mainka, Ralph K. W. Spintge and Michael Thaut: Music
Therapy in Medical and Neurological Rehabilitation Settings
* Part 11: Conceptual frameworks, research methods and future
directions
* 53: Adam Ockelford: Beyond Music Psychology
* 54: Michael Thaut: History and research
* 55: Susan Hallam, Ian Cross and Michael Thaut: Where now?