Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Preface Chapter 1: Introduction LEARNING OUTCOMES Overview of Book Contents Abiding Controversies Recent Areas of Research Growth Additional Readings Chapter 2: Origins of Music LEARNING OUTCOMES Prehistoric Music Adaptationist Accounts Theories Based on Reproductive Benefits Theories Based on Survival Benefits Nonadaptationist Accounts Precursors to Music Additional Readings Chapter 3: Musical Building Blocks LEARNING OUTCOMES The Elements of Sound Periodic Motion The Discovery of Music Within Sound Sensory Consonance and Dissonance Tuning Systems Sensitivity to Pitch Models of Pitch Perception Absolute Pitch Timbre Reconstructing Music Additional Readings Chapter 4: Music Acquisition LEARNING OUTCOMES Musical Infants Music in the Womb Investigating Music Perception Among Infants Melodic Contour Consonance and Dissonance Pitch Relations Scale Structure Phrase Structure Harmony Key Rhythm Memory for Music Learning and Enculturation Additional Readings Chapter 5 : Perceiving Music Structure LEARNING OUTCOMES Arrangements of Sound Relative Pitch Melodic Contour Scale Structure Large-Scale Structure Melodic Expectancies Implicit Memory for Music Implied Harmony Musical Key Implied Key Rhythm Additional Readings Chapter 6: Music and Emotion LEARNING OUTCOMES Emotion Work Emotion and Cognition Theories of Music and Emotion Empirical Studies Do Listeners Agree on the Emotional Meaning of Music? How Do Listeners Respond Emotionally to Music? Compositional and Expressive Signals of Emotion What Properties of Music Lead to an Emotional Response? Is There a Universal Link Between Music and Emotion? Sources of Emotion in Music Additional Readings Chapter 7: Music and the Brain LEARNING OUTCOMES What's in a Brain? The Search for Music Inside the Brain Neurological Disorders Techniques of Neuroimaging Neuroimaging and Music A Rapidly Evolving Field Additional Readings Chapter 8: Performing Music LEARNING OUTCOMES Playing Music Acquiring Performance Skill Communicating Musical Structure Communicating Emotional Meaning Singing Improvising Gestures and Facial Expressions Evaluating Performance The Craft of the Performer Additional Readings Chapter 9: Composing Music LEARNING OUTCOMES The Radius of Creativity Composers and Listeners Cognitive Constraints on Composition Composing with Multiple Voices Where Do New Ideas Come From? The Craft of Music Composition Chapter 10: Music and Other Abilities LEARNING OUTCOMES Is Music Unique? Short-Term Effects of Music Long-Term Benefits of Music Educational Implications Additional Readings Glossary References Author Index Subject Index. Buchnummer des Verkäufers
Inhaltsangabe: Examining the intersection of music, psychology, and neuroscience, Music, Thought, and Feeling surveys the rapidly growing field of music cognition and explores its most interesting questions. Written in clear, engaging language that balances scientific and artistic perspectives, this book provides an excellent introduction to--and critical analysis of--the major issues in music cognition, making it ideal for courses in psychology of music.
Assuming minimal background in music or psychology, the book begins with an overview of the major theories on how and when music became a widespread aspect of human behavior. It also covers:
* How humans perceive music
* Links between music and emotion
* Modern neuroimaging techniques and what they tell us about music's effect on the brain
* Psychological processes involved in imagining, composing, and performing music
* Potential cognitive benefits of musical engagement
Music, Thought, and Feeling references numerous "Sound Examples" and is supplemented by a companion website (www.oup.com/us/Thompson) containing an extensive collection of music sample audio files, most created specifically for this book. In addition, the website provides a link to iTunes, where readers can access an iMix created to accompany the book.
About the Author:
William Forde Thompson is Professor of Psychology at Macquarie University, where he conducts research on music, emotion, and performance. He is President of the Society for Music Perception and Cognition (2006-2008), Associate Editor at Music Perception, and Editor of Empirical Musicology Review.
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