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OverviewThe 2nd 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. Full Product DetailsAuthor: 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)Publisher: Oxford University Press Imprint: Oxford University Press Edition: 2nd Revised edition Dimensions: Width: 18.60cm , Height: 6.00cm , Length: 24.90cm Weight: 1.908kg ISBN: 9780198722946ISBN 10: 019872294 Pages: 976 Publication Date: 14 January 2016 Audience: College/higher education , Undergraduate , Postgraduate, Research & Scholarly Format: Hardback Publisher's Status: Active Availability: To order  Stock availability from the supplier is unknown. We will order it for you and ship this item to you once it is received by us. Table of ContentsPart 1: The origins and functions of music 1: Ian Cross: The nature of music and its evolution 2: Catherine J. Stevens and Tim Bryon: Universals in music processing: Entrainment, acquiring expectations and learning 3: Ian Cross and Elizabeth Tolbert: Music and meaning 4: Martin Clayton: The social and personal functions of music in cross-cultural perspective Part 2: Music perception 5: Thomas Stainsby & Ian Cross: The perception of pitch 6: Psyche Loui: Absolute pitch 7: Emmanuel Bigand and Bénédicte Poulin-Charronnat: Tonal cognition 8: Stephen McAdams and Bruno L. Giordano: The perception of musical timbre 9: Mari Riess Jones: Musical time 10: Mark A. Schmuckler: Tonality and contour in melodic processing 11: Bob Snyder: Memory for music Part 3: Responses to music 12: Donald A. Hodges: Bodily Responses to Music 13: Patrik N. Juslin: Emotional reactions to music 14: Alf Gabrielsson: The relationship between musical structure and perceived expression 15: David Huron: Aesthetics 16: Donald A. Hodges: The neuroaesthetics of music 17: Alika Greasley and Alexandra Lamont: Musical preferences Part 4: Music and the Brain 18: Laurel J. Trainor and Robert J. Zatorre: The neurobiology of musical expectations from perception to emotion 19: Psyche Loui: Disorders of music cognition 20: Simone Dalla Bella: Music and brain plasticity 21: Sebastian Jentschke: The relationship between music and language 22: Daniel J. Cameron and Jessica A. Grahn: The neuroscience of rhythm Part 5: Musical development 23: Richard Parncutt: Prenatal development and the phylogeny and ontogeny of musical behaviour 24: Sandra E. Trehub: Infant musicality 25: Alexandra Lamont: Music development from the early years onwards 26: E. Glenn Schellenberg: Music training and nonmusical abilities Part 6: Learning musical skills 27: Gary McPherson and Susan Hallam: Musical potential 28: Harald Jørgensen and Susan Hallam: Practicing 29: Helena Gaunt and Susan Hallam: Individuality in the learning of musical skills 30: Susan Hallam: Motivation to learn 31: Andrea Creech: The role of the family in supporting learning 32: Graham Welch and Adam Ockelford: The role of the institution and teachers in supporting learning Part 7: Musical performance 33: Eckart Altenmüller & Shinichi Furuya: Planning and performance 34: Andreas Lehmann and Reinhardt Kopiez: Sight reading 35: Roger Chaffin, Alexander P. Demos and Topher Logan: Performing from memory 36: Jane W. Davidson and Mary C. Broughton: Bodily Mediated Coordination, Collaboration, and Communication in Music Performance 37: Patrik N. Juslin and Erik Lindstrom: Emotion in music performance 38: Erica Bisesi and W. Luke Windsor: Expression and communication of structure in music performance: measurements and models 39: Dianna Theadora Kenny and Bronwen J. Ackermann: Optimizing physical and psychological health in performing musicians Part 8: Composition and improvisation 40: Jonathan Impett: Making a mark: The psychology of composition 41: Richard Ashley: Musical Improvisation 42: Peter R. Webster: Pathways to the Study of Music Composition by Preschool to Precollege Students Part 9: The role of music in our everyday lives 43: Alexandra Lamont, Alika Greasley and John Sloboda: Choosing to hear music: motivation, process, and effect 44: Annabel J. Cohen: Music in performance arts: Film, theatre and dance 45: Alf Gabrielsson, John Whaley and John Sloboda: Peak experiences with music 46: David J. Hargreaves, Raymond MacDonald and Dorothy Miell: Musical identities 47: Susan Hallam and Raymond MacDonald: The effects of music in community and education settings 48: Adrian C. North, David J. Hargreaves and Amanda E. Krause: Music and consumer behavior Part 10: Music Therapy 49: Shannon De l'Etoile: Processes of music therapy: Clinical and Scientific Rationales and Models 50: Corene Hurt-Thaut: Clinical Practice in music therapy 51: Barabara L. Wheeler: Research in music therapy 52: Stefan Mainka, Ralph K. W. Spintge and Michael Thaut: Music Therapy in Medical and Neurological Rehabilitation Settings Part 11: Conceptual frameworks, research methods and future directions 53: Adam Ockelford: Beyond Music Psychology 54: Michael Thaut: History and research 55: Susan Hallam, Ian Cross and Michael Thaut: Where now?ReviewsReview from previous edition Y Y Author InformationSusan 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. Tab Content 6Author Website:Countries AvailableAll regions |
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