Oxford Handbook of Music Psychology
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Oxford Handbook of Music Psychology
Cross, Ian (Professor, Professor, Centre for Music & Science Faculty of Music University of Cambridge); Thaut, Michael (Professor, Professor, Center for Biomedical Research in Music, Colorado State University, Fort Collins, CO, USA); Hallam, Susan (Professor, Professor, University College London, UCL Institute of Education, Department of Lifelong and Comparative Education, London, UK)
Oxford University Press
12/2017
976
Mole
Inglês
9780198818830
15 a 20 dias
The 2nd edition of the Oxford Handbook of Music Psychology updates the original landmark text, providing a comprehensive review of the latest developments in this fast growing area of research. With contributions from internationally recognised experts, it is an essential resource for students and researchers in psychology.
Part 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 Benedicte 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 Jorgensen 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 Altenmuller & 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?
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The 2nd edition of the Oxford Handbook of Music Psychology updates the original landmark text, providing a comprehensive review of the latest developments in this fast growing area of research. With contributions from internationally recognised experts, it is an essential resource for students and researchers in psychology.
Part 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 Benedicte 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 Jorgensen 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 Altenmuller & 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?
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