The Psychology of Music

Diana Deutsch

Gulf Professional Publishing, 1999 - Psychology - 807 pages

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

• THE NATURE OF MUSICAL SOUND JOHN R PIERCE I Musical Sound: 1
• From Classical Times: 2
• Mersenne and Galileo: 3
• Time Resolution and Musical Sounds: 5
• Externalization: 6
• Spectra: 7
• Spectra and Sound: 8
• Resonance and Musical Instruments: 10
• Complexity of Periodic Sounds: 11
• Helmholtz Plomp and Dissonance: 12
• Pitch: 13
• QuasiMusical and Unmusical Sounds: 16
• Descriptions of Musical Sounds: 17
• Acknowledgments: 20
• Rudolf Rasch 89 University of Utrecht Utrecht The Netherlands: 21
• The Physical Problem: 26
• 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
• Rhythm Temporal Coding: 75
• 4: 84
• Perceptual Attributes of Single Tones: 93
• Perceptual Attributes of Simultaneous Tones: 102
• Conclusion: 108
• EXPLORATION OF TIMBRE BY ANALYSIS AND SYNTHESIS JEANCLAUDE RISSET AND DAVID L WESSEL 1 Timbre: 113
• The Classical View: 114
• The Shortcomings of the Classical Conception: 116
• Attack Transients: 117
• Importance of Characteristic Features VI Instrumental and Vocal Timbres Additive Synthesis: 118
• Percussion Instruments: 124
• CrossSynthesis and Voice Synthesis: 126
• Subtractive Synthesis: 128
• Global or Nonlinear Synthesis: 130
• Physical Modeling as a Synthesis Technique: 131
• Sampling: 134
• Musical Prosody Fusion and Segregation: 135
• AnalysisSynthesis as Fitting Physical and Perceptual Models to Data: 138
• The Use of AnalysisSynthesis Models of Timbre: 141
• Timbral Space: 146
• Conclusion: 149
• Appendices: 151
• References: 158
• THE PERCEPTION OF SINGING JOHAN SUNDBERG I Introduction: 171
• Function of the Voice: 172
• Resonatory Aspects: 174
• Phonation: 188
• Aspects of Voice Timbre: 194
• Vibrato: 195
• Pitch in Practice: 203
• Expression: 207
• Concluding Remarks: 209
• References: 210
• Burns 215 Department of Speech and Hearing Sciences: 215
• Musical Interval Perception: 219
• Natural Intervals and Scales: 240
• 8: 265
• Stability of the Interval Standard: 280
• Colored Hearing: 286
• 9: 299
• Larger Scale Groupings: 313
• EqualInterval Tone Complexes: 336
• References: 342
• Introduction: 349
• 11: 413
• 12: 441
• 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
• A Speculation: 460
• The Musical Reality of StyleStructural Hierarchies: 464
• Archetypes: 466
• The Limits of Style: 468
• References: 471
• RHYTHM AND TIMING IN Music Eric F CLARKE I Introduction: 473
• Form Perception: 476
• Rhythm Perception: 478
• Timing in Music: 489
• Rhythm Timing and Movement: 494
• Summary: 496
• Acknowledgments: 497
• THE PERFORMANCE OF MUSIC ALF GABRIELSSON 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
• Summary: 620
• 16: 627
• Music Ability and Other Abilities: 643
• 17: 653
• Auditory Agnosias and Verbal Deafness: 667
• Progress in the Classification of Auditory Disorders: 673
• Progress in the Neuropsychology of Human Music Perception: 699
• Music Perception as a Skill: 704
• Perspectives for the Neuropsychological Study of Music: 708
• Acknowledgments: 712
• COMPARATIVE Music PERCEPTION AND COGNITION EDWARD C CARTERETTE AND Roger A KENDALL I Introduction and Overview: 725
• Pitch: 730
• Pitch Systems: 736
• Tonality: 743
• Melody: 751
• Rhythm: 758
• Timbre and Spectra: 762
• Creativity Communication Meaning and Affect: 765
• Verbal Attributes and Semantics: 766
• Animal Speech and Music: 770
• Perception of Tonality by the Monkey: 776
• Cognitive Musical Universals: 780
• References: 782
• INDEX: 793

Bibliographic information

• Title: The Psychology of Music; Academic Press Series; Academic Press series in cognition and perception; Academic press series in cognition and perception /ed. by Edward Carterette, Morton P. Friedman; Cognition and Perception; The Psychology of Music, Diana Deutsch
• Editor: Diana Deutsch
• Edition: illustrated
• Publisher: Gulf Professional Publishing, 1999
• ISBN: 0122135652, 9780122135651
• Length: 807 pages
• Subjects: Psychology / Cognitive Psychology & Cognition; Psychology / General