The Oxford Handbook of Music Psychology

by Susan Hallam, Ian Cross, Michael Thaut

Overview

The second edition of The Oxford Handbook of Music Psychology updates the original landmark text and provides a comprehensive review of the latest developments in this fast-growing area of research. Covering both experimental and theoretical perspectives, each of the 11 sections is edited by an internationally recognised authority in the area.

The first ten parts present chapters that focus on specific areas of music psychology: the origins and functions of music; music perception, responses to music; music and the brain; musical development; learning musical skills; musical performance; composition and improvisation; the role of music in everyday life; and music therapy. In each part authors critically review the literature, highlight current issues and explore possibilities for the future.

The final part examines how, in recent years, the study of music psychology has broadened to include a range of other disciplines. It considers the way that research has developed in relation to technological advances, and points the direction for further development in the field. With contributions from internationally recognised experts across 55 chapters, it is an essential resource for students and researchers in psychology and musicology.

Product Details

ISBN-13:	9780198818830
Publisher:	Oxford University Press
Publication date:	02/07/2018
Series:	Oxford Library of Psychology
Edition description:	Reprint
Pages:	976
Sales rank:	1,100,673
Product dimensions:	6.80(w) x 9.70(h) x 2.20(d)

About the Author

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

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