The Psychology of MusicDiana Deutsch The aim of the psychology of music is to understand musical phenomena in terms of mental functions--to characterize the ways in which one perceives, remembers, creates, and performs music. Since publication of the first edition of The Psychology of Music, the field has emerged from an interdisciplinary curiosity into a fully ramified subdiscipline of psychology as a result of several factors. First, the opportunity to generate, analyze, and transform sounds by computer is no longer limited to a few researchers with access to large multi-user facilities, but is now available to individual investigators on a widespread basis. Second, dramatic advances in the field of neuroscience have profoundly influenced thinking about the way that music is processed in the brain. Third, collaborations between psychologists and musicians, which were evolving at the time the first edition was written, are now quite common, and to a large extent these two groups speak a common language and agree on basic philosophical issues. The Psychology of Music, Second Edition has been completely revised to bring the reader the most up-to-date information and additional subject matter, and new contributions examine all of these important developments. The book is intended as a comprehensive reference source for musicians, psychologists, and students interested in and studying this exciting psychological discipline. |
Contents
John R Pierce 1 Department of Music Stanford University Stanford | 1 |
Rudolf Rasch 89 University of Utrecht Utrecht The Netherlands | 21 |
FROM MAGIC TO NUMBER THEORY | 25 |
The Subjective Problem | 33 |
Multipurpose Halls | 44 |
Weinberger 47 Department of Psychobiology and Center | 47 |
Experimental Approaches in the Neurobiology of Music | 60 |
Harmony Consonance | 67 |
A Speculation | 460 |
The Musical Reality of StyleStructural Hierarchies | 464 |
Archetypes | 466 |
The Limits of Style | 468 |
References | 471 |
13 | 472 |
RHYTHM AND TIMING IN MUSIC ERIC F CLARKE I Introduction | 473 |
Form Perception | 476 |
Rhythm Temporal Coding | 75 |
4 | 84 |
Perceptual Attributes of Single Tones | 93 |
Perceptual Attributes of Simultaneous Tones | 102 |
Conclusion | 108 |
Timbre | 113 |
Percussion Instruments | 124 |
Global or Nonlinear Synthesis | 130 |
AnalysisSynthesis as Fitting Physical and Perceptual Models | 138 |
Timbral Space | 146 |
6 | 160 |
THE PERCEPTION OF SINGING | 171 |
Phonation | 188 |
Vibrato | 195 |
Pitch in Practice | 203 |
INTERVALS SCALES AND TUNING | 215 |
Natural Intervals and Scales | 240 |
8 | 260 |
Genesis of AP | 268 |
Stability of the Interval Standard | 280 |
Colored Hearing | 286 |
GROUPING MECHANISMS IN MUSIC | 299 |
Larger Scale Groupings | 313 |
EqualInterval Tone Complexes | 336 |
References | 342 |
Introduction | 349 |
1 | 413 |
12 | 438 |
Problems with Level Displays | 448 |
The Parametric Nature of Hierarchical Style Structures | 451 |
Style Structures as Composite Cognitive Paths | 456 |
Refining Further Hierarchical Displays | 457 |
Rhythm Perception | 478 |
Timing in Music | 489 |
Rhythm Timing and Movement | 494 |
Summary | 496 |
Acknowledgments | 497 |
14 | 498 |
THE Performance of Music I Introduction | 501 |
Performance Planning | 502 |
SightReading | 509 |
Improvisation | 513 |
Feedback in Performance | 515 |
Motor Processes in Performance | 516 |
Measurements of Performance | 523 |
Models of Music Performance | 550 |
Physical Factors in Performance | 557 |
Psychological and Social Factors | 561 |
Performance Evaluation | 577 |
THE DEVELOPMENT OF Music PerceptION AND COGNITION | 603 |
Concepts of Musical Ability | 627 |
17 | 646 |
NEUROLOGICAL ASPECTS OF MUSIC Perception | 653 |
Music Perception as a Skill | 704 |
18 | 714 |
COMPARATIVE Music Perception aND COGNITION | 725 |
Pitch Systems | 736 |
Tonality | 743 |
Rhythm | 758 |
Creativity Communication Meaning and Affect | 765 |
Perception of Tonality by the Monkey | 776 |
| 793 | |
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Common terms and phrases
ability absolute pitch Acoustical Society amplitude analysis auditory cortex auditory system chords cognitive complex tones components consonance context cortical cues Deutsch diatonic discrimination Dowling duration effect equal temperament example experiment Experimental Figure formant formant frequencies frequency modulation function fundamental frequency harmonic hear hemisphere hierarchical higher identification instruments intonation Journal learning listeners measure melodic intervals melody memory mistuned modulation msec Music Education Music Perception music performance musical intervals musicians neural neurons nonmusicians notes octave octave equivalence octave illusion patterns perceived Perception & Psychophysics pianists piano pitch class played Plomp possessors presented processing psychoacoustics Psychology of Music Psychophysics quarter tones range relative pitch representation response rhythm rhythmic scale semitone sequences singers singing Sloboda Society of America song spectral speech stimuli structure subjects Sundberg synthesis task temporal Terhardt theory timbre tion tonal Trehub tuning vibrato vocal voice vowels Zatorre