Key Features
- Encompasses the way the brain perceives, remembers, creates, and performs music
- Contributions from the top international researchers in perception and cognition of music
- Designed for use as a textbook for advanced courses in psychology of music
List of Contributors
Preface
1. The Perception of Musical Tones
I Introduction
II Perception of Single Tones
III Perception of Sound Combinations
IV Conclusions and Outlook
Acknowledgments
References
2. Musical Timbre Perception
I Psychophysics of Timbre
II Timbre as a Vehicle for Source Identity
III Timbre as a Structuring Force in Music Perception
IV Concluding Remarks
Acknowledgments
References
3. Perception of Singing
I Introduction
II Voice Function
III Phonation
IV Resonance
V Intensity and Masking
VI Aspects of Voice Timbre
VII Vibrato
VIII Intonation in Practice
IX Expression
X Concluding Remarks
References
4. Intervals and Scales
I Introduction
II Pitch Intervals
III Scales and Tuning Systems
IV Overview
Acknowledgments
References
5. Absolute Pitch
I Introduction
II Implicit AP
III Genesis of AP
IV AP and Speech Processing
V AP and Pitch Processing
VI Neuroanatomical Substrates of AP
VII AP Accuracy and Stimulus Characteristics
VIII Pitch Shifts in AP Possessors
IX AP in Special Populations
X Conclusion
Acknowledgments
References
6. Grouping Mechanisms in Music
I Introduction
II Fusion and Separation of Spectral Components
III Larger-Scale Groupings
IV Auditory Streaming and Implied Polyphony
V Grouping and Phrase Structure
VI Grouping of Simultaneous Tone Sequences
VII Grouping of Equal-Interval Tone Complexes
VIII Relationships to Music Theory and Practice
Acknowledgments
References
7. The Processing of Pitch Combinations
I Introduction
II Feature Abstraction
III Abstraction of Higher-Order Shapes
IV The Organization of Short-Term Memory for Tones
V Paradoxes Based on Pitch Class
VI Illusory Transformation from Speech to Song
VII Conclusion
Acknowledgments
References
8. Computational Models of Music Cognition
I Introduction
II Models of Key-Finding
III Models of Meter-Finding
IV Other Aspects of Perception
V Models of Musical Experience
VI Models of Performance
VII Models of Composition
VIII Conclusions
Acknowledgment
References
9. Structure and Interpretation of Rhythm in Music
I Introduction
II Overview: Decomposing the Rhythmic Signal
III Structure and Interpretation: Visualizing Rhythm Space
IV Rhythmic Pattern: Representation
V Rhythmic Pattern and Timing: Categorization
VI Metrical Structure
VII Tempo and Timing: Perceptual Invariance
VIII Rhythm and Movement: Embodied Cognition
Acknowledgments
References
10. Music Performance: Movement and Coordination
I Introduction
II Movement in Performance
III Ensemble Performance
IV Summary
Acknowledgments
References
11. Musical Development
I Origins of Music
II Musical Development in a Social Context
III Musical Enculturation and Critical Periods for Musical Acquisition
IV Music Production: Development of Singing
V Effects of Formal Music Training on Musical Development
VI Interactions between Music Experience and Nonmusical Abilities
VII General Conclusions
Acknowledgments
References
12. Music and Cognitive Abilities
I Introduction
II Music Aptitude and Cognitive Abilities
III Cognitive Abilities after Listening to Music
IV Background Music and Cognitive Abilities
V Music Training and Cognitive Abilities
VI Conclusions
Acknowledgments
References
13. The Biological Foundations of Music: Insights from Congenital Amusia
I Congenital Amusia
II Pitch Is Special
III Right Frontotemporal Connectivity Is Key
IV Music Genes
V Limited Plasticity
VI Conclusions
Acknowledgments
References
14. Brain Plasticity Induced by Musical Training
I Introduction
II Behavioral Studies: The Effects of Musical Training on Cognitive Performance
III Imaging Studies: The Effects of Musical Training on Brain Organization
IV Auditory-Motor Interactions Underlie Music and Language Learning
V Music-based Treatments to Modulate Brain Plasticity: Melodic Intonation Therapy and Auditory-Motor Mapping Training
VI Concluding Remarks
Acknowledgments
References
15. Music and Emotion
I History
II Emotion Theory
III Perception of Emotion
IV Arousal of Emotion
V Themes in Current Research
VI Implications and Outlook
References
16. Comparative Music Cognition: Cross-Species and Cross-Cultural Studies
I Introduction
II Cross-Species Studies
III Cross-Cultural Studies
IV Conclusion
Acknowledgments
References
17. Psychologists and Musicians: Then and Now
I Helmholtz and Basevi in the 1860s
II Seashore and Kurth in the 1920s
III Francès and Meyer in the 1950s
IV Psychologists and Musicians Today
V A Continuing Challenge
References
Author Index
Subject Index