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.
Table of Contents
About the authors Preface to the second edition Notes to instructors Acknowledgments 1. The scope of psychology of music Part I. Foundations 2. The acoustics of music 3. Auditory perception and the neurophysiology of hearing 4. Cognitive neuroscience and the music-language link Part II. The perception and cognition of music 5. Perception of musical pitch and melody 6. Perception of musical time 7. Analysis and cognition of musical structure Part III. Development, learning, and performance 8. Emergence of auditory and music perception 9. Early musical development 10. Practice and musical expertise 11. The psychology of music performance Part IV. The meaning and significance of music 12. The social psychology of music 13. The question of meaning in music 14. The emotional power of music 15. Culture and music. Appendix: The chapters in action. References. Name index. Subject index.
Dr. Siu-Lan Tan is A.B Stone Professor of Psychology at Kalamazoo College in Michigan, USA. She completed degrees in Music at Pacific Union College, graduate studies at Oxford University, and a PhD in Psychology at Georgetown University. Her research focuses on musical form, music notation, and film music, and she plays piano. She is primary editor of The Psychology of Music in Multimedia, and appears in Score: A Film Music Documentary.
Peter Pfordresher is Professor of Psychology at SUNY Buffalo in New York State, USA. He completed his PhD in Psychology at the Ohio State University. His research on the relationship between perception and action in music has been published in psychology, music cognition, and music education journals, and has received support from the National Science Foundation. He sings and plays piano, guitar, and the trumpet.
Rom Harré is Emeritus Fellow of Linacre College, Oxford University, UK. He was Distinguished Research Professor of Psychology at Georgetown University, and Director of the Centre for the Philosophy of the Natural and Social Sciences at the London School of Economics.
‘Tan, Pfordresher, and Harré have thoroughly revised and updated Psychology of Music: From Sound to Significance with great success. They maintain the logical progression of topics from the earlier version, but each chapter incorporates new and intriguing material, ranging from practical problems in learning and performing music to philosophical issues concerning how music conveys meaning. Topics are seamlessly integrated across chapters with valuable cross-references and clear links are drawn between the classic studies and the vibrant, contemporary research. Technical jargon is avoided, at the same time providing satisfying descriptions of important methodologies. Anyone involved in music, as performer or listener, will find an engaging array of ideas about music and human thought and emotion - and many fascinating, unanswered questions.’ - Carol Lynne Krumhansl, Professor of Psychology, Cornell University, US
‘The authors' revision of Psychology of Music: From Sound to Significance provides students and instructors with a rich and deep resource for learning about the field of music psychology. Approachable in its language and sweeping in scope, this text introduces readers to the many areas of scientific research into the powerful, deeply human experiences of listeners and performers, children and adults. I have used the first edition as a text in my undergraduate survey course for years and highly recommend this book as an excellent choice, both in the classroom and for the independent learner.’ - Richard Ashley, Associate Professor of Music, Cognitive Science, and Cognitive Neuroscience, Northwestern University, US; Co-Editor, Routledge Companion to Music Cognition