Oxford Handbook of Music Psychology

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Susan Hallam, Ian Cross, Michael Thaut
OUP Oxford, May 26, 2011 - Psychology - 600 pages
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The field of Music Psychology has grown dramatically in the past 20 years, to emerge from being just a minor topic to one of mainstream interest within the brain sciences. However, until now, there has been no comprehensive reference text in the field. The Oxford Handbook of Music Psychology is a landmark text providing, for the first time ever, a comprehensive overview of the latest developments in this fast-growing area of research. With contributions from over fifty experts in the field, the range and depth of coverage is unequalled. All the chapters combine a solid review of the relevant literature with well-reasoned arguments and robust discussions of the major findings, as well as original insights and suggestions for future work. Written by leading experts, the 52 chapters are divided into 11 sections covering both experimental and theoretical perspectives, each edited by an internationally recognised authority Ten sections each 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 our everyday lives - music therapy and conceptual frameworks In each section, expert authors critically review the literature, highlight current issues, and explore possibilities for the future. The final section examines how in recent years the study of music psychology has broadened to include a range of other scientific disciplines. It considers the way that the research has developed in relation to technological advances, fostering links across the field and providing an overview of the areas where the field needs further development in the future. The Oxford Handbook of Music Psychology will be the essential reference text for students and researchers across psychology and neuroscience.

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PART 1The origins and functions of music
CHAPTER 1The nature of music and its evolution
CHAPTER 2Universals in music processing
CHAPTER 3Music and meaning
CHAPTER 4The social and personal functions of music in crosscultural perspective
PART 2Music perception
CHAPTER 5The perception of pitch
CHAPTER 27Motivation to learn
CHAPTER 28The role of the family in supporting learning
CHAPTER 29The role of the institution and teachers in supporting learning
PART 7Musical performance
CHAPTER 30Measurement and models of performance
CHAPTER 31Planning and performance
CHAPTER 32Sightreading
CHAPTER 33Performing from memory

CHAPTER 6Tonal cognition
CHAPTER 7The perception of musical timbre1
CHAPTER 8Musical time
CHAPTER 9Components of melodic processing
CHAPTER 10Memory for music
PART 3Responses to music
CHAPTER 11Bodily responses to music
CHAPTER 12Emotional responses to music
CHAPTER 13The relationship between musical structure and perceived expression
CHAPTER 14Aesthetics
CHAPTER 15Musical preferences
PART 4Music and the brain
CHAPTER 16The neurobiological basis of musical expectations
CHAPTER 17Disorders of musical cognition
CHAPTER 18Music musicians and brain plasticity
CHAPTER 19Music and the brain Three links to language
PART 5Musical development
CHAPTER 20Prenatal development and the phylogeny and ontogeny of music
CHAPTER 21Music lessons from infants
CHAPTER 22Music in the school years
CHAPTER 23The impact of music instruction on other skills
PART 6Learning musical skills
CHAPTER 24Musical potential
CHAPTER 25Practising
CHAPTER 26Individuality in the learning of musical skills
CHAPTER 34Movement and collaboration in musical performance
CHAPTER 35Emotion in music performance
CHAPTER 36Optimizing physical and psychological health in performing musicians
PART 8Composition and improvisation
CHAPTER 37Making a mark The psychology of composition
CHAPTER 38Musical improvisation
CHAPTER 39Children as creative thinkers in music Focus on composition
PART 9The role of music in everyday life
CHAPTER 40Choosing to hear music Motivation process and effect
CHAPTER 41Music in performance arts Film theatre and dance
CHAPTER 42Peak experiences in music
CHAPTER 43Musical identities
CHAPTER 44The effects of music in community and educational settings
CHAPTER 45Music and consumer behaviour
PART 10Music Therapy
CHAPTER 46Processes of music therapy Clinical and scientific rationales and models
CHAPTER 47Clinical practice in music therapy
CHAPTER 48Research and evaluation in music therapy
CHAPTER 49Music therapy in medical and neurological rehabilitation settings
PART 11Conceptual frameworks research methods and future directions
CHAPTER 50Beyond music psychology
CHAPTER 51History and research
CHAPTER 52Where now?

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About the author (2011)

Susan Hallam is Professor of Education at the Institute of Education, University of London and currently Dean of the Faculty of Policy and Society. She pursued careers as both a professional musician and a music educator before completing her psychology studies and becoming an academic in 1991 in the department of Educational Psychology at the Institute. Her research interests include disaffection from school, ability grouping and homework and issues relating to learning in music, practising, performing, musical ability, musical understanding and the effects of music on behaviour and studying. She is past editor of Psychology of Music, Psychology of Education Review and Learning Matters. She has twice been Chair of the Education Section of the British Psychological Society, and is currently treasurer of the British Educational Research Association, an auditor for the Quality Assurance Agency and an Academician of the Learned Societies for the Social Sciences Ian Cross teaches at the University of Cambridge where he is Reader in Music & Science, Director of the Centre for Music & Science and a Fellow of Wolfson College. He has published widely in the field of music cognition. His principal research focus at present is on music as a biocultural phenomenon, involving collaboration with psychologists, anthropologists, archaeologists and computational neuroscientists. His research explores the biological and cultural bases for human musicality, in particular, the mechanisms underlying the capacity for achievement and maintenance of inter-individual synchrony of behaviour, those underlying the experience of meaning in engagement with music, and those involved in the cognition and perception of multi-levelled structure in both music and language. Michael H Thaut received his masters and PhD in music from Michigan State University. He is also a graduate of the Mozarteum Music Conservatory in Salzburg/Austria. At Colorado State University he is a Professor of Music and a Professor of Neuroscience and serves as Executive Director of the School of the Arts and Chairman of the Dept of Music, Theater, and Dance. He has also directed the Center for Biomedical Research in Music for 12 years. Dr Thaut's internationally recognized research focuses on brain function in music, especially time information processing in the brain related to rhythmicity and biomedical applications of music to neurologic rehabilitation of cognitive and motor function. He has received both the National Research Award and the National Service Award from the American Music Therapy Association. He is an elected member of the World Academy of Multidisciplinary Neurotraumatology and in 2007 he was elected President of the International Society for Clinical Neuromusicology.