Musical Communication

by Dorothy Miell, Raymond MacDonald, David Hargreaves

Overview

Music is a powerful means of communication. It provides a means by which people can share emotions, intentions, and meanings even though their spoken languages may be mutually incomprehensible. It can also provide a vital lifeline to human interaction for those whose special needs make other means of communication difficult. Music can exert powerful physical effects, can produce deep and profound emotions within us, and can be used to generate infinitely subtle variations of expressiveness by skilled composers and performers.
This new addition to the music psychology list brings together leading researchers from a variety of academic and applied backgrounds. It examines how music can be used to communicate and the biological, cognitive, social, and cultural processes which underlie such communication. Taking a broad, interdisciplinary look at all aspects of communication, from the symbolic aspects of musical notation, to the use of music in advertising, the book is the first of its kind. It will be valuable for all those involved in music cognition, music education, and communication studies.

Product Details

ISBN-13:	9780198529354
Publisher:	Oxford University Press
Publication date:	09/15/2005
Pages:	456
Product dimensions:	9.30(w) x 6.20(h) x 1.20(d)

About the Author

The Open University, Milton Keynes

Glasgow Caledonian University

Roehampton University

Table of Contents

1. How do people communicate using music?, David J Hargreaves, Raymond MacDonald & Dorothy Miell2. Music and meaning, ambiguity and evolution, Ian Cross3. Music and conversation, R Keith SawyerCognition, Representation and Communication4. Musical communication and music cognition: liberties and limitations, Annabel J Cohen5. From mimesis to catharsis: expression, perception and induction of emotion in music, Patrik N Juslin6. Representation, cognition and musical communication: invented notation in children's musical communication, Margaret Barrett7. How the conventions of music notation shape musical perception and performance, Jeanne BambergerEmbodied Communication8. Rhythm, human temporality and brain function, Michael H Thaut9. Musical companionship, musical community: music therapy and the process and value of musical communication, Gary Ansdell10. Bodily communication in musical performance, Jane Davidson11. Singing as communication, Graham F WelchCommunication in Learning and Education12. Musical communication and chnildren's communities of musical practice, Margaret Barrett13. Musical communication between adults and young children, Susan Young14. Pedagogical communication in the music classroom, Charles ByrneCultural Contexts of Communication15. Talking about music: a vehicle for identity development, Raymond MacDonald, Dorothy Miell & Graeme Wilson16. Hippies vs Hip-hop heads: an exploration of music's ability to communicate an alternative political agenda from the perspective of two divergent musical genres, Janis McNair & John Powles17. Communication in Indian raga performance, Martin Clayton18. The role of music communication in cinema, Scott D Lipscomb & David E Tolchinsky19. Musical communication in commercial contexts, Adrian C North & David J Hargreaves

Editorial Reviews

3 Stars from Doody

Reviewer: Christopher J Graver, PhD, ABPP-CN(Madigan Healthcare System)
Description: This book explores how music is used as a form of communication, addressing the evolutionary significance of music, music as a social construct, the language that underlies music, and the complex interaction between performer and listener. The physical, cognitive, and emotional effects of music also are explored.
Purpose: The purpose is to add to the knowledge base in the relatively new field of music psychology from a variety of different perspectives. It originates from a series of seminars on the social psychology of music. Incorporating chapters from a broad range of academic disciplines, this book examines how music can be used to communicate and the processes that underlie that communication.
Audience: Intended for anyone interested music cognition, music education, and communication studies, the book is written at level that does not require an extensive background in psychology, education, or other related disciplines. Anyone should be able to pick up this book and appreciate the insights and ideas.
Features: Four main sections comprise the book, including Cognition, Representation, and Communication; Embodied Communication; Communication in Learning and Education; and Cultural Contexts of Communication. Each chapter is well written and informative. There are adequate tables and figures that help to organize and visually present the material. There are a wide variety of perspectives from psychologists, music therapists, music educationalists, and ethnomusicologists. Musical communication is discussed in a multitude of domains from the evolutionary development of music to neuronal activation in rhythmic synchronization to political agendas in music. The book also addresses the professional benefits of music, including musical therapy and music education. (On an unrelated note, in my copy pages 401-408 are flipped upside down and are presented in reverse order, so readers may want to check for that error before purchasing a copy.)
Assessment: For anyone interested in music as a form of communication, this book is a reasonably priced paperback worth owning. It provides many diverse perspectives on musical communication and yet does not require one to have an advanced degree to understand the material. In addition, musicians and nonmusicians alike are sure to find topics of interest and gain new insights from these capable authors.

Doody's Review Service

"For anyone interested in music as a form of communication, this book is a reasonably priced paperback worth owning."—Doody's

From the Publisher