The 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