Music in the Human Experience: An Introduction to Music Psychology, Third Edition, explores the ways in which we make sense of music and how we respond to it-cognitively, physically, and emotionally.
Music in the Human Experience: An Introduction to Music Psychology, Third Edition, explores the ways in which we make sense of music and how we respond to it-cognitively, physically, and emotionally.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Donald A. Hodges, formerly the Covington Distinguished Professor of Music Education, is now Professor Emeritus at the University of North Carolina, Greensboro (USA). Gary E. McPherson is the Ormond Chair of Music at the Melbourne Conservatorium of Music, University of Melbourne (Australia).
Inhaltsangabe
Part I: Introducing Music Psychology Chapter 1. What is Music Psychology? The Purview of Music Psychology A Model of Music Psychology Contributions from Biology Contributions from Anthropology Contributions from Philosophy Contributions from Education Contributions from Psychology Contributions from Sociology Contributions from Physics Contributions from Music A Brief History of Music Psychology An Overview of the Literature in Music Psychology Conclusion Discussion Questions Chapter 2. Philosophical Issues in Music Psychology Human and Musical Nature Biological Differences Adaptability Cultural Development Symbolic Behaviors Love Play Religion Technology Aesthetic Sensitivity Knowledge The Interface of Music Philosophy and Music Psychology General Philosophical Approaches The Science of Beauty Experimental Aesthetics The Golden Mean and Mathematical Influences A Philosophical Paradigm Shift in Music Psychology Music as a Way of Knowing Is Music Psychology Encroaching on Music Philosophy's Territory? Seashore's Involvement with Eugenics Conclusion Discussion Questions Chapter 3. How We Came to be Musical Rhythm, a Fundamental Life Process Natural Soundscapes Parent-Infant Bonding The Acquisition of Language Music as a Way of Knowing Social Organization Conclusion Discussion Questions Chapter 4. Music Around the World and Across Time Time-Line of Early Artistic Behaviors Prehistoric Cave and Rock Art Art and Technology Invariants Religion Celebrations Altered States of Consciousness Music: A Human Invariant Emotional expression (Merriam), Regulation of an individual's emotional, cognitive, or physiological state (Clayton) Aesthetic enjoyment (Merriam) Entertainment (Merriam), Personal enjoyment, Games (Gregory) Communication (Merriam, Gregory) Symbolic representation (Merriam, Clayton), Personal symbol (Gregory) Physical response (Merriam), Dancing (Clayton) Enforcing conformity to social norms (Merriam), Mediation between self and other (Clayton) Validation of social institutions and religious rituals (Merriam), Ceremonies and festivals; Religious music (Gregory) Contribution to the continuity and stability of culture (Merriam), Ethnic or group identity (Gregory) Contribution to the integration of society (Merriam) Lullabies (Gregory) Work music (Gregory), Coordination of action (Clayton) Storytelling (Gregory) Battle (Gregory) Salesmanship (Gregory) Healing, trance (Gregory) Court (Gregory) Conclusion Discussion Questions Part II: Perceiving, Understanding and Responding to Music Chapter 5. Acoustical Foundations of Music What is Sound? Important Parameters of Sound Measuring and Describing Sound and Vibration Frequency Amplitude Waveform (Signal Shape) Time How Environment Affects Sound Transmission and Absorption Reflection Diffraction Refraction Interference Tuning Systems Tuning in Western Music Non-Western Tuning Systems Acoustics of the Voice and Musical Instruments The Voice Aerophones Chordophones Idiophones, Membranophones, and Corpophones Electrophones Room Acoustics Conclusion Discussion Questions Chapter 6. Musical Hearing The Hearing Mechanism Outer Ear Middle Ear Inner Ear From Ear to Brain The Auditory Cortex Conclusion Discussion Questions Chapter 7. Psychoacoustics and the Perception of Music The Critical Band The Perception of Pitch Pitch Discrimination Pitch Matching Pitch Height and Pitch Chroma Absolute Pitch Synesthesia The Perception of Loudness The Perception of Timbre The Perception of Duration Secondary Relationships Pitch Loudness Timbre Duration Volume and Density Conclusion Discussion Questions Chapter 8. Music Cognition Gestalt Laws of Cognitive Organization Auditory Scene Analysis Schemata The Spotlight of Attention The Cocktail Party Phenomenon and Auditory Stream Segregation Musical Memory Statistical Learning in Music Expectancy Theory Tonality Cognition of Musical Elements Melody and Harmony Tonality in Melody Cognition Melodic Contour Consonance - Dissonance Rhythm Timbre Cognition of Larger Musical Forms Cross-Cultural Comparative Research in Music Music and Language Conclusion Discussion Questions Chapter 9. Music and the Brain Brief Introduction to the Brain Neural Plasticity Pruning Critical and Sensitive Periods Neural Networks Multisensory Integration Music in the Brain Support from Ancillary Disciplines Support from Indirect Approaches Special Musicians Imaging Techniques for Studying Music Electroencephalography Electrocorticography Event-related Potentials Magnetoencephalography Positron-Emission Tomography Magnetic Resonance Imaging Functional Magnetic Resonance Imaging Transcranial Magnetic Stimulation Diffusion Tensor Imaging fNIRS: Functional Near-Infared Spectroscopy Hyperscanning Imaging Music Perception and Cognition Imaging Affective Responses to Music Imaging Musical Performance Imaging Music Learning Predictive Coding of Music (PCM) Model Conclusion Discussion Questions Chapter 10. Bodily Responses to Music Physiological Responses to Music Heart Rate and Pulse Rate Blood Pressure Respiration Skin Conductance Responses Neurochemical Responses Skin, Finger, or Body Temperature Miscellaneous Responses Physical Responses to Music Muscular and Motor Responses Chills and Tears Facial Gestures Body Movements Discussion of Psychophysiological Variables Conclusion Discussion Questions Chapter 11. Musical Emotions Introduction to the Study of Emotions The Role of Expectations in Musical Emotions Measuring Musical Emotions Perceived Emotions: The Cognitivist Position Induced Musical Emotions: The Emotivist Position A Third Viewpoint: Aesthetic Trinity Theory Musical Emotions in Everyday Experiences Conclusion Discussion Questions Part III: Being Musical Chapter 12. The Musical Person Is Musicality Inherited or Acquired? Genetic Factors in Musicality The Acquisition of Musical Attributes Summary of the Inheritance/Acquisition of Musical Attributes The Relationship of Musical Attributes to Other Human Attributes The Musical Personality Religious and Spiritual Aspects Musical Identity Musical Preferences Preferences for Instruments Preferences for Musical Genres The Listener The Music Situations and Contexts Conclusion Discussion Questions Chapter 13. Music Performance Motor Skills Neuromotor Aspects of Music Making Motor Aspects of Music Making Music Performance The Acquisition of Motor Skills Audio-Motor and Mirror Neuron Systems Quantity of Practice Cognitive Skills Quality of Practice Mental Rehearsal Music Reading Expressive Skills Body Movement Musical Cues for Expressiveness Musical Creativity Memory and Creativity Divergent and Convergent Thinking Flow Improvisation Conclusion Discussion Questions Chapter 14. The Psychology of Music Learning Psychoanalysis Behavioral Psychology Cognitive Approaches Humanistic Psychology Gestalt Psychology Developmental Psychology Social Psychology Cognitive Psychology Taxonomies Music Intelligence Music Cognition, Music Learning, and Reflective Thinking Cognitive Neuroscience Cognitive Load Theory Explicit Instruction Worked Examples Connectivism Learning Styles Music Teaching and Learning Conclusion Discussion Questions Chapter 15. Music and Health Music Therapy Alzheimer's Disease Autism Cerebral Palsy Dyslexia Parkinson's Disease and Stroke Premature and Newborn Infants Psychiatric Disorders Music Medicine Aphasia Stress, Pain, Anxiety, and the Immune System Performing Arts Medicine Hearing HealthMM6.4 Vocal Health Bodily Health Psychosocial Health Performance Anxiety Other Mental Health Issues Music and Wellbeing Conclusion Discussion Questions Chapter 16. Music in Social Contexts Music in Society From Birth to Death From Lowest to Highest Cognitive Functioning From One Person to Thousands Reflections of Society in Music Social Behaviors among Performing Musicians Social Behaviors among Music Listeners The Influence of Music on Social Behaviors Music as a Socializing Agent The Influence of Music in the Workplace The Influence of Music on Thought, Attitude, and Social Behavior Conclusion Discussion Questions Epilogue: Ruminations on Music Psychology Research R1. What is music psychology, and who conducts music psychology research? R2. Interactions between philosophy and music psychology R3. The triumvirate of theory, research and practice R4. Basic and applied research R5. Quantitative and qualitative research R6. Formal and informal music experiences R7. Global perspectives R8. Toward a cultural music psychology R9. Replications R10. A music psychology research collaboratory
Part I: Introducing Music Psychology / Chapter 1. What is Music Psychology? / Chapter 2. Philosophical Issues in Music Psychology / Chapter 3. How We Came to be Musical / Chapter 4. Music Around the World and Across Time / Part II: Perceiving, Understanding and Responding to Music / Chapter 5. Acoustical Foundations of Music / Chapter 6. Musical Hearing / Chapter 7. Psychoacoustics and the Perception of Music / Chapter 8. Music Cognition / Chapter 9. Music and the Brain / Chapter 10. Bodily Responses to Music / Chapter 11. Musical Emotions / Part III: Being Musical / Chapter 12. The Musical Person / Chapter 13. Music Performance / Chapter 14. Music Teaching and Learning / Chapter 15. Music and Health / Chapter 16. Music in Social Contexts
Part I: Introducing Music Psychology Chapter 1. What is Music Psychology? The Purview of Music Psychology A Model of Music Psychology Contributions from Biology Contributions from Anthropology Contributions from Philosophy Contributions from Education Contributions from Psychology Contributions from Sociology Contributions from Physics Contributions from Music A Brief History of Music Psychology An Overview of the Literature in Music Psychology Conclusion Discussion Questions Chapter 2. Philosophical Issues in Music Psychology Human and Musical Nature Biological Differences Adaptability Cultural Development Symbolic Behaviors Love Play Religion Technology Aesthetic Sensitivity Knowledge The Interface of Music Philosophy and Music Psychology General Philosophical Approaches The Science of Beauty Experimental Aesthetics The Golden Mean and Mathematical Influences A Philosophical Paradigm Shift in Music Psychology Music as a Way of Knowing Is Music Psychology Encroaching on Music Philosophy's Territory? Seashore's Involvement with Eugenics Conclusion Discussion Questions Chapter 3. How We Came to be Musical Rhythm, a Fundamental Life Process Natural Soundscapes Parent-Infant Bonding The Acquisition of Language Music as a Way of Knowing Social Organization Conclusion Discussion Questions Chapter 4. Music Around the World and Across Time Time-Line of Early Artistic Behaviors Prehistoric Cave and Rock Art Art and Technology Invariants Religion Celebrations Altered States of Consciousness Music: A Human Invariant Emotional expression (Merriam), Regulation of an individual's emotional, cognitive, or physiological state (Clayton) Aesthetic enjoyment (Merriam) Entertainment (Merriam), Personal enjoyment, Games (Gregory) Communication (Merriam, Gregory) Symbolic representation (Merriam, Clayton), Personal symbol (Gregory) Physical response (Merriam), Dancing (Clayton) Enforcing conformity to social norms (Merriam), Mediation between self and other (Clayton) Validation of social institutions and religious rituals (Merriam), Ceremonies and festivals; Religious music (Gregory) Contribution to the continuity and stability of culture (Merriam), Ethnic or group identity (Gregory) Contribution to the integration of society (Merriam) Lullabies (Gregory) Work music (Gregory), Coordination of action (Clayton) Storytelling (Gregory) Battle (Gregory) Salesmanship (Gregory) Healing, trance (Gregory) Court (Gregory) Conclusion Discussion Questions Part II: Perceiving, Understanding and Responding to Music Chapter 5. Acoustical Foundations of Music What is Sound? Important Parameters of Sound Measuring and Describing Sound and Vibration Frequency Amplitude Waveform (Signal Shape) Time How Environment Affects Sound Transmission and Absorption Reflection Diffraction Refraction Interference Tuning Systems Tuning in Western Music Non-Western Tuning Systems Acoustics of the Voice and Musical Instruments The Voice Aerophones Chordophones Idiophones, Membranophones, and Corpophones Electrophones Room Acoustics Conclusion Discussion Questions Chapter 6. Musical Hearing The Hearing Mechanism Outer Ear Middle Ear Inner Ear From Ear to Brain The Auditory Cortex Conclusion Discussion Questions Chapter 7. Psychoacoustics and the Perception of Music The Critical Band The Perception of Pitch Pitch Discrimination Pitch Matching Pitch Height and Pitch Chroma Absolute Pitch Synesthesia The Perception of Loudness The Perception of Timbre The Perception of Duration Secondary Relationships Pitch Loudness Timbre Duration Volume and Density Conclusion Discussion Questions Chapter 8. Music Cognition Gestalt Laws of Cognitive Organization Auditory Scene Analysis Schemata The Spotlight of Attention The Cocktail Party Phenomenon and Auditory Stream Segregation Musical Memory Statistical Learning in Music Expectancy Theory Tonality Cognition of Musical Elements Melody and Harmony Tonality in Melody Cognition Melodic Contour Consonance - Dissonance Rhythm Timbre Cognition of Larger Musical Forms Cross-Cultural Comparative Research in Music Music and Language Conclusion Discussion Questions Chapter 9. Music and the Brain Brief Introduction to the Brain Neural Plasticity Pruning Critical and Sensitive Periods Neural Networks Multisensory Integration Music in the Brain Support from Ancillary Disciplines Support from Indirect Approaches Special Musicians Imaging Techniques for Studying Music Electroencephalography Electrocorticography Event-related Potentials Magnetoencephalography Positron-Emission Tomography Magnetic Resonance Imaging Functional Magnetic Resonance Imaging Transcranial Magnetic Stimulation Diffusion Tensor Imaging fNIRS: Functional Near-Infared Spectroscopy Hyperscanning Imaging Music Perception and Cognition Imaging Affective Responses to Music Imaging Musical Performance Imaging Music Learning Predictive Coding of Music (PCM) Model Conclusion Discussion Questions Chapter 10. Bodily Responses to Music Physiological Responses to Music Heart Rate and Pulse Rate Blood Pressure Respiration Skin Conductance Responses Neurochemical Responses Skin, Finger, or Body Temperature Miscellaneous Responses Physical Responses to Music Muscular and Motor Responses Chills and Tears Facial Gestures Body Movements Discussion of Psychophysiological Variables Conclusion Discussion Questions Chapter 11. Musical Emotions Introduction to the Study of Emotions The Role of Expectations in Musical Emotions Measuring Musical Emotions Perceived Emotions: The Cognitivist Position Induced Musical Emotions: The Emotivist Position A Third Viewpoint: Aesthetic Trinity Theory Musical Emotions in Everyday Experiences Conclusion Discussion Questions Part III: Being Musical Chapter 12. The Musical Person Is Musicality Inherited or Acquired? Genetic Factors in Musicality The Acquisition of Musical Attributes Summary of the Inheritance/Acquisition of Musical Attributes The Relationship of Musical Attributes to Other Human Attributes The Musical Personality Religious and Spiritual Aspects Musical Identity Musical Preferences Preferences for Instruments Preferences for Musical Genres The Listener The Music Situations and Contexts Conclusion Discussion Questions Chapter 13. Music Performance Motor Skills Neuromotor Aspects of Music Making Motor Aspects of Music Making Music Performance The Acquisition of Motor Skills Audio-Motor and Mirror Neuron Systems Quantity of Practice Cognitive Skills Quality of Practice Mental Rehearsal Music Reading Expressive Skills Body Movement Musical Cues for Expressiveness Musical Creativity Memory and Creativity Divergent and Convergent Thinking Flow Improvisation Conclusion Discussion Questions Chapter 14. The Psychology of Music Learning Psychoanalysis Behavioral Psychology Cognitive Approaches Humanistic Psychology Gestalt Psychology Developmental Psychology Social Psychology Cognitive Psychology Taxonomies Music Intelligence Music Cognition, Music Learning, and Reflective Thinking Cognitive Neuroscience Cognitive Load Theory Explicit Instruction Worked Examples Connectivism Learning Styles Music Teaching and Learning Conclusion Discussion Questions Chapter 15. Music and Health Music Therapy Alzheimer's Disease Autism Cerebral Palsy Dyslexia Parkinson's Disease and Stroke Premature and Newborn Infants Psychiatric Disorders Music Medicine Aphasia Stress, Pain, Anxiety, and the Immune System Performing Arts Medicine Hearing HealthMM6.4 Vocal Health Bodily Health Psychosocial Health Performance Anxiety Other Mental Health Issues Music and Wellbeing Conclusion Discussion Questions Chapter 16. Music in Social Contexts Music in Society From Birth to Death From Lowest to Highest Cognitive Functioning From One Person to Thousands Reflections of Society in Music Social Behaviors among Performing Musicians Social Behaviors among Music Listeners The Influence of Music on Social Behaviors Music as a Socializing Agent The Influence of Music in the Workplace The Influence of Music on Thought, Attitude, and Social Behavior Conclusion Discussion Questions Epilogue: Ruminations on Music Psychology Research R1. What is music psychology, and who conducts music psychology research? R2. Interactions between philosophy and music psychology R3. The triumvirate of theory, research and practice R4. Basic and applied research R5. Quantitative and qualitative research R6. Formal and informal music experiences R7. Global perspectives R8. Toward a cultural music psychology R9. Replications R10. A music psychology research collaboratory
Part I: Introducing Music Psychology / Chapter 1. What is Music Psychology? / Chapter 2. Philosophical Issues in Music Psychology / Chapter 3. How We Came to be Musical / Chapter 4. Music Around the World and Across Time / Part II: Perceiving, Understanding and Responding to Music / Chapter 5. Acoustical Foundations of Music / Chapter 6. Musical Hearing / Chapter 7. Psychoacoustics and the Perception of Music / Chapter 8. Music Cognition / Chapter 9. Music and the Brain / Chapter 10. Bodily Responses to Music / Chapter 11. Musical Emotions / Part III: Being Musical / Chapter 12. The Musical Person / Chapter 13. Music Performance / Chapter 14. Music Teaching and Learning / Chapter 15. Music and Health / Chapter 16. Music in Social Contexts
Rezensionen
"Music in the Human Experience: An Introduction to Music Psychology, Second Edition presents a comprehensive and rich account of the field of music psychology, a text readily adaptable for use in both undergraduate and graduate courses in music, psychology, and cognitive science. The breadth of topics covered is remarkable: from an historical overview of the interdisciplinary development of the field to deep coverage of the most established areas of inquiry, the topics are elaborately researched and extremely well-documented with relevant and current citations, supported by a clear writing style and helpful pedagogical supplements." -Peter Miksza, Associate Professor of Music Education, Indiana University, USA
"Engagingly written by a scholar with a unique perspective on the field, Music in the Human Experienceis the perfect introduction to music psychology. The scope is unparalleled, ranging from the molecular level up to the broader exploration of the social role music plays in different cultures. Yet the discussion never strays far from the concrete way music figures in our everyday lives. The book is beautifully illustrated, and the media tutorials are icing on the cake. If you are not already fascinated by the phenomenon of music, you will be after having read this excellent book." -Patrick N. Juslin, Professor of Music Psychology, Uppsala University, Sweden
"Donald Hodges has an extraordinary ability to marry his deep understanding of music to the fields of philosophy, social science, and music teaching and learning. In this second edition of Music in the Human Experience, we discover some of the most important advances in our conceptual and empirical understanding of why music has the power that it does. The book covers difficult and important topics in decidedly musical ways that should inspire all." -Peter R. Webster, Scholar-in-Residence, University of Southern California, USA
