The Psychology Of Sound

Originally published in 1917, this book was written to provide a purely psychological analysis and theory of the process of hearing. The text begins with a discussion of auditory sensations and their attributes, before moving through areas relating to melody, the formation of scales and psychological theories of hearing. A bibliography and explanatory notes are also provided. This book will be of value to anyone with an interest in experimental psychology and the history of psychology.

In Psychology of Music: From Sound to Significance (2nd edition), the authors consider music on a broad scale, from its beginning as an acoustical signal to its different manifestations across cultures. In their second edition, the authors apply the same richness of depth and scope that was a hallmark of the first edition of this text. In addition, having laid out the topography of the field in the original book, the second edition puts greater emphasis on linking academic learning to real-world contexts, and on including compelling topics that appeal to students’ natural curiosity. Chapters have been updated with approximately 500 new citations to reflect advances in the field. The organization of the book remains the same as the first edition, while chapters have been updated and often expanded with new topics. 'Part I: Foundations' explores the acoustics of sound, the auditory system, and responses to music in the brain. 'Part II: The Perception and Cognition of Music' focuses on how we process pitch, melody, meter, rhythm, and musical structure. 'Part III: Development, Learning, and Performance' describes how musical capacities and skills unfold, beginning before birth and extending to the advanced and expert musician. And finally, 'Part IV: The Meaning and Significance of Music' explores social, emotional, philosophical and cultural dimensions of music and meaning. This book will be invaluable to undergraduates and postgraduate students in psychology and music, and will appeal to anyone who is interested in the vital and expanding field of psychology of music.

The first book to provide comprehensive introductory coverage of the multiple topics encompassed under psychoacoustics. How hearing works and how the brain processes sounds entering the ear to provide the listener with useful information are of great interest to psychologists, cognitive scientists, and musicians. However, while a number of books have concentrated on individual aspects of this field, known as psychoacoustics, there has been no comprehensive introductory coverage of the multiple topics encompassed under the term. Music, Cognition, and Computerized Sound is the first book to provide that coverage, and it does so via a unique and useful approach. The book begins with introductory chapters on the basic physiology and functions of the ear and auditory sections of the brain, then proceeds to discuss numerous topics associated with the study of psychoacoustics, including cognitive psychology and the physics of sound. The book has a particular emphasis on music and computerized sound. An accompanying download includes many sound examples to help explicate the text and is available with the code included in the book at http://mitpress.mit.edu/mccs. To download sound samples, you can obtain a unique access code by emailing [email protected] or calling 617-253-2889 or 800-207-8354 (toll-free in the U.S. and Canada).The contributing authors include John Chowning, Perry R. Cook, Brent Gillespie, Daniel J. Levitin, Max Mathews, John Pierce, and Roger Shepard.

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.

Excerpt from The Psychology of Sound I have undertaken this work in the interests of a purely psychological theory of the senses. A purely psychological analysis and theory of sensory experience has seemed to me for some years to be not only ideally desirable and even necessary, but really also possible. I have made two previous statements of the case for hearing. The first, published in 1911 in The British Journal of Psychology (vol. IV.), formed an incident in a general programme and tentative sketch of this pure psychology. The second, published in the same journal in 1914 (vol. VII.), was planned to meet the numerous attempts that had appeared in the intervening years to reform the elementary psychology of hearing. These attempts made strong appeals towards other lines of construction than those I had advocated; but I had confidence enough in the inherent appropriateness or, as it might be called technically, in the phenomenological correctness, of my 'idea' to be eager to come to grips with these others both in detail and in general. These new movements have since gained in interest and weight by the fact that Stumpf, in reviewing them in 1914, has seen fit to abandon his own generally accepted position, held since 1883, and to put himself at the head of one of the movements, though rejecting the special arguments brought forward for it by its first public exponents. From my second statement it may still not have been clear to many that the ground and basis of my analysis and theory of hearing are as purely psychological as I believe them to be. Such revolutionary teaching in psychology must needs have the most explicit statement. I hesitate to say that this doctrine is fundamentally new. In philosophy there is nothing so new under the sun. But at least in respect of the material to which the primary general principles of science have been applied, if not also in respect of the special principles that have sprung from the new rock that has been struck, there is surely much in my doctrine that is fresh growth and that will in its time give both blossom and fruit. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from The Psychology of Sound N o doubt my theoretical constructions must be carried somewhat further before they can be held to have passed fully over into the elements consciously used by productive musicians and appreciative listeners. The gap is not a large one and is in great part filled by a psychical field that a theorist of sensory experience dare not rush into - the field of psychical habit and attitude. That field belongs chiefly to the historian and ethnologist. No doubt theory can go somewhat further still than I have gone. But it cannot go very far, for the working musician definitely takes over at a certain point the raw materials of his art from the real psychical processes of hearing, inaccessible in full to observation, and then proceeds to construct from them vast new realms without consulting anything that lies beyond the ken of observation. But I am not concerned about what I have not yet attained. If my theoretical efforts are valid, they will grow easily; if they are unfit to survive, the canker will be found within their body. But I think they are healthy enough to overcome in active life whatever weakness may have been born with them. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Just about everyone likes to listen to music to put them "in the mood," and these techniques get you "out" of a mood! The "Tao" part is about accepting what you're feeling, and dealing with it, by using Dr. Ortiz's methods. Includes musical menus that you can use to create your own program for dealing with issues, koans for meditation, and various other fun exercises to make music a part of your holistic health program. Appendix, bibliography, index.

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.