Efnisyfirlit

• The Psychology of Music
• Copyright Page
• Contents
• List of Contributors
• Preface
• 1 The Perception of Musical Tones
• I. Introduction
• A. What Are Musical Tones?
• B. Measuring Perception
• II. Perception of Single Tones
• A. Loudness
• 1 Dynamic Range and the Decibel
• 2 Equal Loudness Contours and the Loudness Weighting Curves
• 3 Loudness Scales
• 4 Partial Loudness and Context Effects
• 5 Models of Loudness
• B. Pitch
• 1 Pitch of Pure Tones
• 2 Pitch of Complex Tones
• C. Timbre
• D. Sensory Interactions and Cross-Modal Influences
• 1 Pitch and Timbre Interactions
• 2 Effects of Pitch or Timbre Changes on the Accuracy of Loudness Judgments
• 3 Visual Influences on Auditory Attributes
• III. Perception of Sound Combinations
• A. Object Perception and Grouping
• B. Perceiving Multiple Pitches
• C. The Role of Frequency Selectivity in the Perception of Multiple Tones
• 1 Roughness
• 2 Pitch Perception of Multiple Sounds
• D. Consonance and Dissonance
• IV. Conclusions and Outlook
• Acknowledgments
• References
• 2 Musical Timbre Perception
• I. Psychophysics of Timbre
• A. Timbre Space
• B. Audio Descriptors of Timbral Dimensions
• C. Interaction of Timbre with Pitch and Dynamics
• II. Timbre as a Vehicle for Source Identity
• III. Timbre as a Structuring Force in Music Perception
• A. Timbral Blend
• B. Timbre and Musical Grouping
• C. Timbral Intervals
• D. Building and Releasing Musical Tension with Timbre
• E. Implicit Learning of Timbre-Based Grammars
• IV. Concluding Remarks
• Acknowledgments
• References
• 3 Perception of Singing
• I. Introduction
• II. Voice Function
• III. Phonation
• A. Loudness, Pitch, and Phonation Type
• B. Register
• IV. Resonance
• A. Formant Frequencies at High Pitches
• B. The Singer’s Formant Cluster
• C. Modification of Vowel Quality
• D. Voice Classification
• V. Intensity and Masking
• VI. Aspects of Voice Timbre
• A. “Placement”
• B. Text Intelligibility
• C. Larynx Height
• D. Singer’s Identity
• E. Naturalness
• VII. Vibrato
• A. Physical Characteristics
• B. Perceptual Aspects
• 1 Vowel Intelligibility
• 2 Singleness in Pitch
• 3 Pitch and Mean F0
• VIII. Intonation in Practice
• IX. Expression
• X. Concluding Remarks
• References
• 4 Intervals and Scales
• I. Introduction
• II. Pitch Intervals
• A. Simultaneous Intervals
• B. Sequential Intervals
• C. Limits and Precision of Relative Pitch
• III. Scales and Tuning Systems
• IV. Overview
• Acknowledgments
• References
• 5 Absolute Pitch
• I. Introduction
• II. Implicit AP
• A. The Tritone Paradox
• B. Pitch Identification and Production
• III. Genesis of AP
• A. The Practice Hypothesis
• B. The Genetic Hypothesis
• C. The Critical Period Hypothesis
• D. Influence of Type of Musical Training
• IV. AP and Speech Processing
• A. Evidence from the Tritone Paradox
• B. Critical Periods for AP and Speech
• C. Neuroanatomical Evidence
• D. AP and Tone Language
• E. Processing of Speech Sounds by AP Possessors
• V. AP and Pitch Processing
• A. Categorical Perception of Pitch
• B. Pitch Memory
• C. Octave Errors
• D. Processing of Relative Pitch
• VI. Neuroanatomical Substrates of AP
• VII. AP Accuracy and Stimulus Characteristics
• A. Pitch Class
• B. Octave Placement
• C. Timbre
• VIII. Pitch Shifts in AP Possessors
• A. Association with Advancing Age
• B. Association with Medication
• IX. AP in Special Populations
• X. Conclusion
• Acknowledgments
• References
• 6 Grouping Mechanisms in Music
• I. Introduction
• II. Fusion and Separation of Spectral Components
• A. Effects of Harmonicity
• B. Effects of Onset Synchronicity
• C. Auditory Continuity
• D. Effects of Vibrato
• E. Effects of Amplitude Modulation
• F. Effects of Spatial Separation
• G. Effects of Statistical Regularities
• III. Larger-Scale Groupings
• IV. Auditory Streaming and Implied Polyphony
• A. Streaming by Pitch Proximity
• B. Streaming by Timbre
• C. Building and Resetting of Auditory Streams
• D. Streaming and Perception of Temporal Relationships
• E. Streaming by Amplitude and Amplitude Modulation
• F. Effects of Short-Term Memory and Context on Streaming
• G. Streaming and Attention
• H. Brain Mechanisms Underlying Streaming
• V. Grouping and Phrase Structure
• VI. Grouping of Simultaneous Tone Sequences
• A. The Scale Illusion and Related Phenomena
• B. The Octave Illusion
• C. Illusory Conjunctions and Attention
• D. Melody Perception from Phase-Shifted Tones
• VII. Grouping of Equal-Interval Tone Complexes
• A. Grouping by Pitch Proximity
• B. Grouping by Common Fate
• VIII. Relationships to Music Theory and Practice
• Acknowledgments
• References
• 7 The Processing of Pitch Combinations
• I. Introduction
• II. Feature Abstraction
• A. Octave Equivalence
• B. Perceptual Equivalence of Intervals and Chords
• C. Interval Class
• D. Contour
• E. Pitch Organization in Melody
• III. Abstraction of Higher-Order Shapes
• A. Transposition
• B. Inversion and Retrogression
• C. Models of Pitch Space
• D. The Deutsch/Feroe Model
• E. Acquisition of a Representation
• F. Other Approaches to Key Identification
• IV. The Organization of Short-Term Memory for Tones
• A. The System That Retains Absolute Pitch Values
• B. Further Evidence for a Separate Pitch Memory System
• C. Specific Interactions within the Pitch Memory System
• D. Item and Order Information
• E. Memory Enhancement Through Repetition
• F. Octave Generalization
• G. Pitch Proximity and Pitch Memory
• H. Memory for Timbre
• I. Memory for Loudness
• J. Memory for Spatial Location
• K. Memory for Duration
• L. Memory for Pitch Relationships
• V. Paradoxes Based on Pitch Class
• A. The Tritone Paradox
• B. The Semitone Paradox
• C. The Melodic Paradox
• D. Implications of These Musical Paradoxes
• E. Basis of the Tritone Paradox
• 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
• A. Pitch Identification
• B. Grouping and Voice Separation
• C. Harmonic Analysis and Pitch Spelling
• D. Pattern Discovery
• E. Pitch Reduction
• 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
• A. Syncopation
• B. Beat Induction as a Fundamental Cognitive Skill
• VII. Tempo and Timing: Perceptual Invariance
• VIII. Rhythm and Movement: Embodied Cognition
• Acknowledgments
• References
• Bibliography
• 10 Music Performance: Movement and Coordination
• I. Introduction
• II. Movement in Performance
• A. Movement as Sensory Information
• B. Movement as Expressive Gesture
• III. Ensemble Performance
• A. Sensory Feedback in Ensembles
• B. Individual Differences and Musical Roles in Ensembles
• IV. Summary
• Acknowledgments
• References
• 11 Musical Development
• I. Origins of Music
• II. Musical Development in a Social Context
• A. Singing to Infants
• B. Entrainment and Making Music Together
• C. Conclusions
• III. Musical Enculturation and Critical Periods for Musical Acquisition
• A. Spectral Processing
• 1 Early Developing Pitch Abilities
• a. Integrating Harmonics into a Percept of Pitch
• b. Sensory Consonance and Dissonance
• c. Relative Pitch
• 2 Later Developing Pitch Abilities: Enculturation to Western Tonality
• B. Temporal Processing
• C. Development of Emotional Responses to Music
• D. Conclusions
• IV. Music Production: Development of Singing
• A. From Cooing to Song
• B. Pitch Accuracy and Singing in Key
• C. Learning to Sing as a Sensorimotor Task
• D. Conclusions
• V. Effects of Formal Music Training on Musical Development
• A. Differences between Adult Musicians and Nonmusicians
• B. Does Music Training Cause Enhanced Processing in Adults?
• C. Effects of Formal Music Training on Musical Development
• D. Conclusions
• VI. Interactions between Music Experience and Nonmusical Abilities
• A. Music and Mathematics
• B. Music and Spatial Abilities
• C. Music and Language
• 1 Influence of Music Experience on Language Abilities
• 2 Influence of Language Experience on Musical Abilities
• 3 Music and Reading
• D. Music and General Cognitive Abilities
• E. Conclusions
• VII. General Conclusions
• Acknowledgments
• References
• 12 Music and Cognitive Abilities
• I. Introduction
• II. Music Aptitude and Cognitive Abilities
• A. Music Aptitude and Language
• B. Music Aptitude and Mathematics
• C. Music Aptitude and General Cognitive Abilities
• III. Cognitive Abilities after Listening to Music
• A. The Mozart Effect
• B. Meta-analyses
• C. Arousal and Mood
• IV. Background Music and Cognitive Abilities
• A. Emotional Responses and Cognitive Capacity
• B. Background Music and Mathematics
• C. Background Music and Memory
• D Background Music and Reading Comprehension
• E. Background Music and Individual Differences
• F. Background Music: Conclusions
• V. Music Training and Cognitive Abilities
• A. Music Training and Listening
• B. Music Training and Memory
• C. Music Training, Vocabulary, and Reading
• D. Music Training and Visuospatial Abilities
• E. Music Training and Mathematics
• F. Music Training and General Intelligence
• G. Music Training and Academic Achievement
• H. Music Training, Social-Emotional Abilities, and Executive Functions
• VI. Conclusions
• Acknowledgments
• References
• 13 The Biological Foundations of Music: Insights from Congenital Amusia
• I. Congenital Amusia
• A. Diagnosis of Congenital Amusia
• 1 Music Specificity
• 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-Moto
• A. Melodic Intonation Therapy
• B. Auditory-Motor Mapping Training
• VI. Concluding Remarks
• Acknowledgments
• References
• 15 Music and Emotion
• I. History
• II. Emotion Theory
• III. Perception of Emotion
• A. Does Music Express Emotions?
• B. Which Emotions Does Music Express?
• C. How Does Music Express Emotions?
• 1 Causal Factors
• 2 Mechanisms
• IV. Arousal of Emotion
• A. Does Music Arouse Emotions?
• B. Which Emotions Does Music Arouse?
• C. How Does Music Arouse Emotions?
• 1 Causal Factors
• a. Individual Factors
• b. Situational Factors
• c. Musical Factors
• 2 Mechanisms
• V. Themes in Current Research
• A. Development
• 1 Prebirth
• 2 Preverbal Infancy
• 3 Preschool Childhood
• 4 Preadolescent Childhood
• 5 Theory and Mechanism
• B. Neuropsychology
• 1 Approaches
• 2 Perception of Emotion
• 3 Arousal of Emotion
• 4 Theory and Mechanism
• VI. Implications and Outlook
• References
• 16 Comparative Music Cognition: Cross-Species and Cross-Cultural Studies
• I. Introduction
• II. Cross-Species Studies
• A. Introduction
• B. Abilities That are Widespread among Other Species
• C. Abilities Restricted to Humans and Select Other Species
• D. Abilities That Are Uniquely Human
• E. Cross-Species Studies: Conclusion
• III. Cross-Cultural Studies
• A. Introduction
• B. Infant Research
• C. Perception of Emotion
• D. Perception of Musical Structure
• E. Culture and Musical Memory
• F. Cognitive Neuroscience Approaches
• G. Cross-Cultural Studies: Conclusion and Considerations for Future Research
• 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
• A. Establishing a Foothold in the Academy
• B. Disruptive Technologies
• C. Outmoded, Narrow Theories
• V. A Continuing Challenge
• References
• Author Index
• Subject Index