Psychology For Musicians

Part I. Musical Learning. Introduction to Music Psychology ; Development ; Motivation ; Practice -- Part II. Musical Skills. Learning and Remembering Musical Works ; Expressing and Interpreting ; Composing and Improvising ; Managing Performance Anxiety -- Part III. Musical Roles. The Performer ; The Teacher ; The Listener ; The User.

Importantly, they take a cross-cultural perspective, considering the "conservatory culture" of formally trained musicians alongside non-Western societies, past periods of history, and contemporary vernacular music cultures."--Jacket.

The Psychology of Music draws together the diverse and scattered literature on the psychology of music. It explores the way music is processed by the listener and the performer and considers several issues that are of importance both to perceptual psychology and to contemporary music, such as the way the sound of an instrument is identified regardless of its pitch or loudness, or the types of information that can be discarded in the synthetic replication of a sound without distorting perceived timbre. Comprised of 18 chapters, this book begins with a review of the classical psychoacoustical literature on tone perception, focusing on characteristics of particular relevance to music. The attributes of pitch, loudness, and timbre are examined, and a summary of research methods in psychoacoustics is presented. Subsequent chapters deal with timbre perception; the subjective effects of different sound fields; temporal aspects of music; abstract structures formed by pitch relationships in music; different tests of musical ability; and the importance of abstract structural representation in understanding how music is performed. The final chapter evaluates the relationship between new music and psychology. This monograph should be a valuable resource for psychologists and musicians.

Comprehensive introduction by noted musicologist covers physical and physiological bases of sound and hearing, elements of tone, pitch, musical ability, origins of music, psychology of music, much more.

Why are some performers exhilarated and energized about performing in public, while others feel a crushing sense of fear and dread, and experience public performance as an overwhelming challenge that must be endured? These are the questions addressed in this book, the first rigorous exposition of this complex phenomenon.

The application of psychological principles to music teaching, with some material on the psychology of performance.

A state-of-the-art overview of the latest theory and research in music psychology, written by leaders in the field. This authoritative, landmark volume offers a comprehensive state-of-the-art overview of the latest theory and research in music perception and cognition. Eminent scholars from a range of disciplines, employing a variety of methodologies, describe important findings from core areas of the field, including music cognition, the neuroscience of music, musical performance, and music therapy. The book can be used as a textbook for courses in music cognition, auditory perception, science of music, psychology of music, philosophy of music, and music therapy, and as a reference for researchers, teachers, and musicians. The book's sections cover music perception; music cognition; music, neurobiology, and evolution; musical training, ability, and performance; and musical experience in everyday life. Chapters treat such topics as pitch, rhythm, and timbre; musical expectancy, musicality, musical disorders, and absolute pitch; brain processes involved in music perception, cross-species studies of music cognition, and music across cultures; improvisation, the assessment of musical ability, and singing; and music and emotions, musical preferences, and music therapy. Contributors Fleur Bouwer, Peter Cariani, Laura K. Cirelli, Annabel J. Cohen, Lola L. Cuddy, Shannon de L'Etoile, Jessica A. Grahn, David M. Greenberg, Bruno Gingras, Henkjan Honing, Lorna S. Jakobson, Ji Chul Kim, Stefan Koelsch, Edward W. Large, Miriam Lense, Daniel Levitin, Charles J. Limb, Psyche Loui, Stephen McAdams, Lucy M. McGarry, Malinda J. McPherson, Andrew J. Oxenham, Caroline Palmer, Aniruddh Patel, Eve-Marie Quintin, Peter Jason Rentfrow, Edward Roth, Frank A. Russo, Rebecca Scheurich, Kai Siedenburg, Avital Sternin, Yanan Sun, William F. Thompson, Renee Timmers, Mark Jude Tramo, Sandra E. Trehub, Michael W. Weiss, Marcel Zentner

Music has been examined from multiple perspectives: as a product of human history, for example, or a product of human culture. But there is also a long tradition, intensified in recent decades, of thinking about music as a product of the human mind. Whether considering composition, performance, listening, or appreciation, the constraints and capabilities of the human mind play a formative role. The field that has emerged around this approach is known as the psychology of music. Written in a lively and accessible manner, this volume connects the science to larger questions about music that are of interest to practicing musicians, music therapists, musicologists, and the general public alike. For example: Why can one musical performance move an audience to tears, and another compel them to dance, clap, or snap along? How does a "hype" playlist motivate someone at the gym? And why is that top-40 song stuck in everyone's head? ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.