| Media Tutorials |
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ix | |
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xi | |
| Preface |
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xv | |
| Acknowledgments |
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xxiii | |
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PART I INTRODUCING MUSIC PSYCHOLOGY |
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1 | (70) |
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1 What Is Music Psychology? |
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3 | (10) |
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A Brief Tour of the Model of Music Psychology |
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5 | (2) |
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A Very Brief History of Music Psychology |
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7 | (1) |
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An Overview of the Literature in Music Psychology |
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8 | (1) |
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Library and Online Resources |
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9 | (1) |
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Music Psychology Periodicals |
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9 | (1) |
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Music Psychology Organizations |
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10 | (1) |
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11 | (1) |
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12 | (1) |
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2 Philosophical Issues in Music Psychology |
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13 | (17) |
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The Musical Significance of Human Nature |
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13 | (6) |
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The Interface of Music Philosophy and Music Psychology |
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19 | (8) |
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27 | (1) |
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28 | (2) |
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3 How We Came to be Musical |
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30 | (17) |
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Rhythm, a Fundamental Life Process |
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31 | (5) |
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36 | (4) |
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40 | (2) |
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The Acquisition of Language |
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42 | (1) |
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43 | (1) |
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43 | (1) |
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44 | (1) |
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45 | (2) |
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4 Music Around the World and Across Time |
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47 | (24) |
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Time-Line of Early Artistic Behaviors |
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48 | (3) |
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Prehistoric Cave and Rock Art |
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51 | (1) |
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52 | (2) |
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54 | (1) |
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55 | (12) |
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67 | (1) |
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68 | (3) |
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PART II PERCEIVING, UNDERSTANDING, AND RESPONDING TO MUSIC |
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71 | (140) |
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5 Acoustical Foundations of MusicMT5-1 |
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73 | (23) |
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73 | (3) |
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Important Parameters of Sound |
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76 | (3) |
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Measuring and Describing Sound |
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79 | (11) |
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How Environment Affects Sound |
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90 | (4) |
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94 | (1) |
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94 | (2) |
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96 | (15) |
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The Hearing MechanismMT6.1, MT6.2, MT6.3 |
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96 | (8) |
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104 | (5) |
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109 | (1) |
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109 | (2) |
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7 Psychoacoustics and the Perception of Music |
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111 | (18) |
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112 | (2) |
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The Perception of PitchMT7.2, MT7.3, MT7.4 |
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114 | (6) |
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The Perception of LoudnessMT7.5, MT7.6 |
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120 | (1) |
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The Perception of TimbreMT7.7 |
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121 | (2) |
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The Perception of DurationMT7.8 |
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123 | (2) |
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125 | (2) |
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127 | (1) |
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127 | (2) |
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129 | (27) |
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Gestalt Laws of Cognitive OrganizationMT8.1 |
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130 | (3) |
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Auditory Scene AnalysisMT8.2, MT8.3, MT8.4 |
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133 | (4) |
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137 | (1) |
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Statistical Learning in Music |
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138 | (1) |
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Expectancy TheoryMT8.6, MT8.7, MT8.8 |
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139 | (3) |
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142 | (3) |
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Cognition of Musical Elements |
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145 | (2) |
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Cognition of Larger Musical Forms |
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147 | (2) |
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Cross-Cultural Comparative Research in Music |
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149 | (1) |
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150 | (2) |
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152 | (2) |
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154 | (2) |
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156 | (22) |
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Brief Introduction to the Brain |
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156 | (6) |
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162 | (13) |
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175 | (2) |
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177 | (1) |
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10 Bodily Responses to Music |
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178 | (13) |
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Physiological Responses to Music |
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178 | (6) |
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Physical Responses to Music |
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184 | (3) |
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Discussion of Psychophysiological Variables |
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187 | (2) |
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189 | (1) |
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190 | (1) |
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191 | (20) |
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Introduction to the Study of EmotionsMT11.1 |
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192 | (6) |
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Perceived Emotions: The Cognitivist PositionMT11.2-MT11.9 |
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198 | (1) |
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Induced Musical Emotions: The Emotivist Position |
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199 | (6) |
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A Third Viewpoint: Aesthetic Trinity Theory |
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205 | (2) |
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Musical Emotions in Everyday Experiences |
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207 | (2) |
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209 | (1) |
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210 | (1) |
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211 | (115) |
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213 | (19) |
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Is Musicality Inherited or Acquired? |
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213 | (5) |
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218 | (4) |
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222 | (3) |
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225 | (4) |
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229 | (1) |
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230 | (2) |
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232 | (23) |
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233 | (7) |
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240 | (6) |
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246 | (7) |
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253 | (1) |
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253 | (2) |
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14 The Pssychology of Music Learning |
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255 | (29) |
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256 | (2) |
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258 | (3) |
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261 | (19) |
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280 | (1) |
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281 | (1) |
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282 | (2) |
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284 | (20) |
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284 | (6) |
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290 | (3) |
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293 | (9) |
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302 | (1) |
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303 | (1) |
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16 Music in Social Contexts |
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304 | (22) |
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Music in American Society |
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304 | (7) |
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Reflections of Society in Music |
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311 | (4) |
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The Influence of Music on Social Behaviors |
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315 | (8) |
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323 | (1) |
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324 | (2) |
| Appendix A Chronological Summary of Books Published in Music Psychology |
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326 | (7) |
| Appendix B Selected Online Databases Frequently Available through Libraries |
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333 | (2) |
| Glossary |
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335 | (21) |
| Notes |
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356 | (3) |
| Illustration Credits |
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359 | (3) |
| References |
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362 | (65) |
| Index |
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427 | |
