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.

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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: 1714g
• 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?