Efnisyfirlit

• Cover image
• Title page
• Table of Contents
• Copyright
• 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