1st Edition

The Routledge Companion to Music Cognition

Edited By Richard Ashley, Renee Timmers Copyright 2017
    590 Pages
    by Routledge

    Continue Shopping


    The Routledge Companion to Music Cognition addresses fundamental questions about the nature of music from a psychological perspective. Music cognition is presented as the field that investigates the psychological, physiological, and physical processes that allow music to take place, seeking to explain how and why music has such powerful and mysterious effects on us. This volume provides a comprehensive overview of research in music cognition, balancing accessibility with depth and sophistication.

    A diverse range of global scholars—music theorists, musicologists, pedagogues, neuroscientists, and psychologists—address the implications of music in everyday life while broadening the range of topics in music cognition research, deliberately seeking connections with the kinds of music and musical experiences that are meaningful to the population at large but are often overlooked in the study of music cognition. Such topics include:

    • Music’s impact on physical and emotional health
    • Music cognition in various genres
    • Music cognition in diverse populations, including people with amusia and hearing impairment
    • The relationship of music to learning and accomplishment in academics, sport, and recreation
    • The broader sociological and anthropological uses of music

    Consisting of over forty essays, the volume is organized by five primary themes. The first section, "Music from the Air to the Brain," provides a neuroscientific and theoretical basis for the book. The next three sections are based on musical actions: "Hearing and Listening to Music," "Making and Using Music," and "Developing Musicality." The closing section, "Musical Meanings," returns to fundamental questions related to music’s meaning and significance, seen from historical and contemporary perspectives. The Routledge Companion to Music Cognition seeks to encourage readers to understand connections between the laboratory and the everyday in their musical lives.

    Part 1: Music from the Air to the Brain

    1 Music from the Air to the Brain and Body (EDWARD W. LARGE)

    2 Music and the Brain: Areas and Networks (PSYCHE LOUI AND EMILY PRZYSINDA)

    3 Music in the Brain: Imagery and Memory (REBECCA S. SCHAEFER)

    4 Music in the Brain: Music and Language Processing (MIREILLE BESSON, MYLÈNE BARBAROUX, AND EVA DITTINGER)

    5 Music and the Brain: Music and Cognitive Abilities (REYNA L. GORDON AND CYRILLE L. MAGNE)

    6 Music, Brain and Movement: Time, Beat and Rhythm (MOLLY J. HENRY AND JESSICA A. GRAHN)

    7 Music and Health: Physical, Mental, and Emotional (SUVI SAARIKALLIO)

    8 Music and Healing Processes: Music Therapy (JÖRG FACHNER)

    9 Music, Pleasure, and Social Affiliation: Hormones and Neurotransmitters (RONI GRANOT)

    Part 2: Hearing and Listening to Music

    10 Musical Structure: Time and Rhythm (PETER MARTENS AND FERNANDO BENADON)

    11 Musical Structure: Sound and Timbre (STEPHEN MCADAMS AND MEGHAN GOODCHILD)

    12 Musical Structure: Tonality, Melody, Harmonicity, and Counterpoint (DANIEL SHANAHAN)

    13 Musical Structure: Melody, Texture, and Harmony in the Classical Tradition (ROBERT GJERDINGEN)

    14 Harmony and Melody in Popular Music (DAVID TEMPERLEY AND TREVOR DE CLERCQ)

    15 Musical Structure: Form (RICHARD ASHLEY)

    16 Music Production: Recording Technology and Acousmatic Listening (RAGNHILD BRØVIG-HANSSEN AND ANNE DANIELSEN)

    17 Musical Connections: Absolute Pitch (ELIZABETH WEST MARVIN)

    18 Musical Connections: Crossmodal Correspondences (ZOHAR EITAN)

    19 Musical Connections: Music Perception and Neurological Deficits (BARBARA TILLMAN, CATHERINE HIREL, YOHANA LÉVÊQUE, AND ANNE CACLIN)

    20 Assisted Music Listening in Hearing Impairment (TONYA R. BERGESON AND RACHAEL FRUSH HOLT)

    Part 3: Making and Using Music

    21 Creating Music: Composition (ROGER T. DEAN)

    22 Music Improvisation: A Challenge for Empirical Research (PETER VUUST AND MORTEN KRINGELBACH)

    23 Performing Music: Written Traditions (DOROTTYA FABIAN)

    24 Performing Music: Oral and Improvising Traditions (NIKKI MORAN)

    25 Performing Music: Humans, Computers, and Electronics (ELAINE CHEW AND ANDREW MCPHERSON)

    26 Music with Others: Ensembles, Conductors, and Interpersonal Coordination (CLEMENS WÖLLNER AND PETER E. KELLER)

    27 Music Alone and with Others: Listening, Sharing and Celebrating (ALEXANDRA LAMONT)

    28 Music and Text: Vocal Musicianship (ANNABEL J. COHEN)

    29 Music and Movement: Musical Instruments and Performers (LAURA BISHOP AND WERNER GOEBL)

    30 Scene and Heard: The Role of Music in Shaping Interpretations of Film (SIU-LAN TAN)

    31 Music as Enabling: Enhancing Sport, Work, and Other Pursuits (NICOLA DIBBEN)

    Part 4: Developing Musicality

    32 Music across the Species (BRUNO GINGRAS)

    33 Music Cognition: Developmental and Multimodal Perspectives (SANDRA E. TREHUB AND MICHAEL W. WEISS)

    34 Musical Expertise: Genetics, Experience, and Training (WILLIAM F. THOMPSON, MIRIAM A. MOSING, AND FREDRIK ULLÉN)

    35 Learning Music: Informal Processes and their Outcomes (LUCY GREEN AND TIM SMART)

    36 Music and Social Cognition in Adolescence (SUSAN A. O’NEILL)

    37 Musical Preference: Personality, Style, and Music Use (JONNA K. VUOSKOSKI)

    Part 5: Musical Meanings

    38 Music Cognition: Investigations through the Centuries (KYUNG MYUNG LEE)

    39 Music and Communication (RICHARD ASHLEY)

    40 Emotion in Music Listening (RENEE TIMMERS)

    41 Music, Analogy, and Metaphor (LAWRENCE M. ZBIKOWSKI)

    42 Musical Aesthetics and Values (ELIZABETH HELLMUTH MARGULIS)

    43 Music’s Meanings (ERIC F. CLARKE)


    Richard Ashley is Associate Professor of Music Theory and Cognition at Northwestern University, where he also holds appointments in Cognitive Science and Cognitive Neuroscience.

    Renee Timmers is Reader in Psychology of Music at the Department of Music, The University of Sheffield, UK, where she directs the research center, "Music, Mind, Machine in Sheffield."