Verfügbarkeit: The psychology of music

The psychology of music:

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Bibliographische Detailangaben
Format:	Buch
Sprache:	English
Veröffentlicht:	Amsterdam [u.a.] Acad. Press 2007
Ausgabe:	2. ed., [Nachdr.]
Schriftenreihe:	Academic Press series in cognition and perception
Schlagworte:	Neurologie Psychoakustik Musik Musikpsychologie Kognition Musikwahrnehmung Aufsatzsammlung Einführung
Online-Zugang:	Inhaltsverzeichnis
Beschreibung:	XVI, 807 S. Ill., graph. Darst., Notenbeisp.
ISBN:	9780122135651 0122135652

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Datensatz im Suchindex

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adam_text	ofJvlusic SECONDEDITION Diana Deutsch Department of Psychology University of California, San Diego La Jolla, California Academic Press An Imprint ofElsevier Amsterdam Boston Heidelberg London New York Oxford Paris San Diego San Francisco Singapore Sydney Tokyo CONTENTS CONTRIBUTORS PREFACE XV THE NATURE OF MUSICAL SOUND JOHN R PIERCE I Musical Sound 1 II From Classical Times 2 III Vibration and Tone: Mersenne and Galileo 3 IV Time Resolution of the Ear 3 V Time Resolution and Musical Sounds 5 VI Externalization 6 VII Spectra 7 VIII Linearity 7 IX Spectra and Sound 8 X Resonance and Musical Instruments 10 XI Complexity of Periodic Sounds 11 XII Helmholtz, Plomp, and Dissonance 12 XIII Pitch 13 XIV Quasi-Musical and Unmusical Sounds 16 XV Descriptions of Musical Sounds 17 Acknowledgments 20 References 20 VI CONTENTS CONCERT HALLS: FROM MAGIC TO NUMBER THEORY MANFRED R SCHROEDER I The Three Problems of Concert Hall Acoustics 25 II The Physical Problem 26 III The Subjective Problem 33 IV Multipurpose Halls 44 V Conclusion 45 Appendix 45 References 46 Music AND THE AUDITORY SYSTEM NORMAN M WEINBERGER I Introduction 47 II A Brief Overview of the Auditory Pathway 48 III Experimental Approaches in the Neurobiology of Music 60 IV The Auditory System and Elements of Music 61 V Pitch 61 VI Harmony, Consonance 67 VII Contour, Melody 68 VIII Rhythm, Temporal Coding 75 IX Future Directions 80 Acknowledgments 82 References 83 THE PERCEPTION OF MUSICAL TONES RUDOLF RASCH AND REINIER PLOMP I The Psychoacoustics of Music 89 II Perceptual Attributes of Single Tones 93 II Perceptual Attributes of Simultaneous Tones 102 IV Conclusion 108 References 109 CONTENTS VII EXPLORATION OF TIMBRE BY ANALYSIS AND SYNTHESIS JEAN-CLAUDE RISSET AND DAVID I WESSEL I Timbre 113 II Timbre and the Fourier Spectrum: The Classical View 114 III The Shortcomings of the Classical Conception 116 IV Attack Transients 117 V Complexity of Sounds: Importance of Characteristic Features 118 VI Instrumental and Vocal Timbres: Additive Synthesis 118 VII Additive Synthesis: Percussion Instruments 124 VIII Cross-Synthesis and Voice Synthesis 126 IX Subtractive Synthesis 128 X Global (or Nonlinear) Synthesis 130 XI Physical Modeling as a Synthesis Technique 131 XII Sampling 134 XIII The Importance of Context: Musical Prosody, Fusion, and Segregation 135 XIV Analysis-Synthesis as Fitting Physical and Perceptual Models to Data 138 XV The Use of Analysis-Synthesis Models of Timbre 141 XVI Timbral Space 146 XVII Conclusion 149 Appendices 151 References 158 THE PERCEPTION OF SINGING JOHAN SUNDBERG I Introduction 171 II Function of the Voice 172 III Resonatory Aspects 174 IV Phonation 188 V Aspects of Voice Timbre 194 VI Vibrato 195 VII Pitch in Practice 203 VIII Expression 207 IX Concluding Remarks 209 References 210 VIII CONTENTS INTERVALS, SCALES, AND TUNING EDWARD M BURNS I Introduction 215 II Why Are Scales Necessary? 215 III Musical Interval Perception 219 IV Natural Intervals and Scales 240 V Conclusions and Caveats 257 Acknowledgments 258 References 258 ABSOLUTE PITCH W DIXON WARD I Introduction 265 II Genesis of AP 268 III Measurement of AP 270 IV Stability of the Interval Standard 280 V Neurological Correlates of AP 282 VI Learning AP 283 VII Colored Hearing 286 VIII Absolute Tonality 286 IX Spontaneous and Elicited Auralization 288 X The Value of AP 289 References 294 GROUPING MECHANISMS IN MUSIC DIANA DEUTSCH I Introduction 299 II Fusion and Separation of Spectral Components 301 III Larger Scale Groupings 313 IV Grouping of Rapid Sequences of Single Tones 313 V Grouping of Multiple Tone Sequences in Space 321 CONTENTS IX VI Equal-Interval Tone Complexes 336 VII Conclusion: Relationships to Music Theory and Practice 340 References 342 1O THE PROCESSING OF PITCH COMBINATIONS DIANA DEUTSCH I Introduction 349 II Feature Abstraction 350 III Higher Order Abstractions 359 IV Paradoxes Based on Pitch Class 376 V The Pitch Memory System 390 VI Conclusion 403 References 404 NEURAL NETS, TEMPORAL COMPOSITES, AND TONALITY JAMSHED J BHARUCHA I Neural Representation 413 II Neural Association and Learning 424 III Discussion 435 Acknowledgments 436 Appendices 436 References 437 HIERARCHICAL EXPECTATION AND MUSICAL STYLE EUGENE NARMOUR I The Invocation of Extraopus Style 442 II Empirical and Rationalistic Levels of Style 443 III Learned Stylistic Levels as Theme and Variation 444 IV Defining Levels 445 V Representing Hierarchical Levels 446 CONTENTS VI Problems with Level Displays 448 VII The Parametric Nature of Hierarchical Style Structures 451 VIII Style Structures as Composite Cognitive Paths 456 IX Refining Further Hierarchical Displays 457 X Neuronal Representation: A Speculation 460 XI The Musical Reality of Style-Structural Hierarchies 464 XII Archetypes 466 XIII Style Change: Toward Greater Complexity 466 XIV Conclusion: The Limits of Style 468 References 471 RHYTHM AND TIMING IN MUSIC ERIC F CLARKE I Introduction 473 II The Work of Paul Fraisse 473 III Form Perception 476 IV Rhythm Perception 478 V Timing in Music 489 VI Rhythm, Timing, and Movement 494 VII Summary 496 Acknowledgments 497 References 497 THE PERFORMANCE OF MUSIC ALF GABRIELSSON I Introduction 501 II Performance Planning 502 III Sight-Reading 509 IV Improvisation 513 V Feedback in Performance 515 VI Motor Processes in Performance 516 VII Measurements of Performance 523 VIII Models of Music Performance 550 IX Physical Factors in Performance 557 X Psychological and Social Factors 561 CONTENTS XI XI Performance Evaluation 577 Acknowledgments 579 References 579 THE DEVELOPMENT OF MUSIC PERCEPTION AND COGNITION W JAY DOWLING I Introduction 603 II Development 604 III Summary 620 Acknowledgment 621 References 621 MUSICAL ABILITY ROSAMUND SHUTER-DYSON I Concepts of Musical Ability 627 II Studies of Musical Abilities 629 III Music Ability and Other Abilities 643 IV Conclusions 645 References 645 NEUROLOGICAL ASPECTS OF MUSIC PERCEPTION AND PERFORMANCE OSCAR S M MARIN AND DAVID W PERRY I Introduction 653 II Amusias 655 III Auditory Agnosias and Verbal Deafness 667 IV Progress in the Classification of Auditory Disorders 673 V Cerebral Hemisphere Asymmetry in Music Perception and Production 679 VI Progress in the Neuropsychology of Human Music Perception 699 XII CONTENTS VII Music Perception as a Skill 704 VIII Perspectives for the Neuropsychological Study of Music 708 Acknowledgments 712 References 712 COMPARATIVE MUSIC PERCEPTION AND COGNITION EDWARD C CARTERETTE AND ROGER A KENDALL I Introduction and Overview 725 II Pitch 730 III Pitch Systems 736 IV Tonality 743 V Melody 751 VI Rhythm 758 VII Timbre and Spectra 762 VIII Creativity, Communication, Meaning, and Affect 765 IX Verbal Attributes and Semantics 766 X Species Differences: Animal Speech and Music 770 XI Perception of Tonality by the Monkey 776 XII Notes on the Neurophysiology of Music Perception 776 XIII Cognitive Musical Universals 780 XIV Coda 780 References 782 INDEX 793
adam_txt	ofJvlusic SECONDEDITION Diana Deutsch Department of Psychology University of California, San Diego La Jolla, California Academic Press An Imprint ofElsevier Amsterdam Boston Heidelberg London New York Oxford Paris San Diego San Francisco Singapore Sydney Tokyo CONTENTS CONTRIBUTORS PREFACE XV THE NATURE OF MUSICAL SOUND JOHN R PIERCE I Musical Sound 1 II From Classical Times 2 III Vibration and Tone: Mersenne and Galileo 3 IV Time Resolution of the Ear 3 V Time Resolution and Musical Sounds 5 VI Externalization 6 VII Spectra 7 VIII Linearity 7 IX Spectra and Sound 8 X Resonance and Musical Instruments 10 XI Complexity of Periodic Sounds 11 XII Helmholtz, Plomp, and Dissonance 12 XIII Pitch 13 XIV Quasi-Musical and Unmusical Sounds 16 XV Descriptions of Musical Sounds 17 Acknowledgments 20 References 20 VI CONTENTS CONCERT HALLS: FROM MAGIC TO NUMBER THEORY MANFRED R SCHROEDER I The Three Problems of Concert Hall Acoustics 25 II The Physical Problem 26 III The Subjective Problem 33 IV Multipurpose Halls 44 V Conclusion 45 Appendix 45 References 46 Music AND THE AUDITORY SYSTEM NORMAN M WEINBERGER I Introduction 47 II A Brief Overview of the Auditory Pathway 48 III Experimental Approaches in the Neurobiology of Music 60 IV The Auditory System and Elements of Music 61 V Pitch 61 VI Harmony, Consonance 67 VII Contour, Melody 68 VIII Rhythm, Temporal Coding 75 IX Future Directions 80 Acknowledgments 82 References 83 THE PERCEPTION OF MUSICAL TONES RUDOLF RASCH AND REINIER PLOMP I The Psychoacoustics of Music 89 II Perceptual Attributes of Single Tones 93 II Perceptual Attributes of Simultaneous Tones 102 IV Conclusion 108 References 109 CONTENTS VII EXPLORATION OF TIMBRE BY ANALYSIS AND SYNTHESIS JEAN-CLAUDE RISSET AND DAVID I WESSEL I Timbre 113 II Timbre and the Fourier Spectrum: The Classical View 114 III The Shortcomings of the Classical Conception 116 IV Attack Transients 117 V Complexity of Sounds: Importance of Characteristic Features 118 VI Instrumental and Vocal Timbres: Additive Synthesis 118 VII Additive Synthesis: Percussion Instruments 124 VIII Cross-Synthesis and Voice Synthesis 126 IX Subtractive Synthesis 128 X Global (or Nonlinear) Synthesis 130 XI Physical Modeling as a Synthesis Technique 131 XII Sampling 134 XIII The Importance of Context: Musical Prosody, Fusion, and Segregation 135 XIV Analysis-Synthesis as Fitting Physical and Perceptual Models to Data 138 XV The Use of Analysis-Synthesis Models of Timbre 141 XVI Timbral Space 146 XVII Conclusion 149 Appendices 151 References 158 THE PERCEPTION OF SINGING JOHAN SUNDBERG I Introduction 171 II Function of the Voice 172 III Resonatory Aspects 174 IV Phonation 188 V Aspects of Voice Timbre 194 VI Vibrato 195 VII Pitch in Practice 203 VIII Expression 207 IX Concluding Remarks 209 References 210 VIII CONTENTS INTERVALS, SCALES, AND TUNING EDWARD M BURNS I Introduction 215 II Why Are Scales Necessary? 215 III Musical Interval Perception 219 IV Natural Intervals and Scales 240 V Conclusions and Caveats 257 Acknowledgments 258 References 258 ABSOLUTE PITCH W DIXON WARD I Introduction 265 II Genesis of AP 268 III Measurement of AP 270 IV Stability of the Interval Standard 280 V Neurological Correlates of AP 282 VI Learning AP 283 VII Colored Hearing 286 VIII Absolute Tonality 286 IX Spontaneous and Elicited Auralization 288 X The Value of AP 289 References 294 GROUPING MECHANISMS IN MUSIC DIANA DEUTSCH I Introduction 299 II Fusion and Separation of Spectral Components 301 III Larger Scale Groupings 313 IV Grouping of Rapid Sequences of Single Tones 313 V Grouping of Multiple Tone Sequences in Space 321 CONTENTS IX VI Equal-Interval Tone Complexes 336 VII Conclusion: Relationships to Music Theory and Practice 340 References 342 1O THE PROCESSING OF PITCH COMBINATIONS DIANA DEUTSCH I Introduction 349 II Feature Abstraction 350 III Higher Order Abstractions 359 IV Paradoxes Based on Pitch Class 376 V The Pitch Memory System 390 VI Conclusion 403 References 404 NEURAL NETS, TEMPORAL COMPOSITES, AND TONALITY JAMSHED J BHARUCHA I Neural Representation 413 II Neural Association and Learning 424 III Discussion 435 Acknowledgments 436 Appendices 436 References 437 HIERARCHICAL EXPECTATION AND MUSICAL STYLE EUGENE NARMOUR I The Invocation of Extraopus Style 442 II Empirical and Rationalistic Levels of Style 443 III Learned Stylistic Levels as Theme and Variation 444 IV Defining Levels 445 V Representing Hierarchical Levels 446 CONTENTS VI Problems with Level Displays 448 VII The Parametric Nature of Hierarchical Style Structures 451 VIII Style Structures as Composite Cognitive Paths 456 IX Refining Further Hierarchical Displays 457 X Neuronal Representation: A Speculation 460 XI The Musical Reality of Style-Structural Hierarchies 464 XII Archetypes 466 XIII Style Change: Toward Greater Complexity 466 XIV Conclusion: The Limits of Style 468 References 471 RHYTHM AND TIMING IN MUSIC ERIC F CLARKE I Introduction 473 II The Work of Paul Fraisse 473 III Form Perception 476 IV Rhythm Perception 478 V Timing in Music 489 VI Rhythm, Timing, and Movement 494 VII Summary 496 Acknowledgments 497 References 497 THE PERFORMANCE OF MUSIC ALF GABRIELSSON I Introduction 501 II Performance Planning 502 III Sight-Reading 509 IV Improvisation 513 V Feedback in Performance 515 VI Motor Processes in Performance 516 VII Measurements of Performance 523 VIII Models of Music Performance 550 IX Physical Factors in Performance 557 X Psychological and Social Factors 561 CONTENTS XI XI Performance Evaluation 577 Acknowledgments 579 References 579 THE DEVELOPMENT OF MUSIC PERCEPTION AND COGNITION W JAY DOWLING I Introduction 603 II Development 604 III Summary 620 Acknowledgment 621 References 621 MUSICAL ABILITY ROSAMUND SHUTER-DYSON I Concepts of Musical Ability 627 II Studies of Musical Abilities 629 III Music Ability and Other Abilities 643 IV Conclusions 645 References 645 NEUROLOGICAL ASPECTS OF MUSIC PERCEPTION AND PERFORMANCE OSCAR S M MARIN AND DAVID W PERRY I Introduction 653 II Amusias 655 III Auditory Agnosias and Verbal Deafness 667 IV Progress in the Classification of Auditory Disorders 673 V Cerebral Hemisphere Asymmetry in Music Perception and Production 679 VI Progress in the Neuropsychology of Human Music Perception 699 XII CONTENTS VII Music Perception as a Skill 704 VIII Perspectives for the Neuropsychological Study of Music 708 Acknowledgments 712 References 712 COMPARATIVE MUSIC PERCEPTION AND COGNITION EDWARD C CARTERETTE AND ROGER A KENDALL I Introduction and Overview 725 II Pitch 730 III Pitch Systems 736 IV Tonality 743 V Melody 751 VI Rhythm 758 VII Timbre and Spectra 762 VIII Creativity, Communication, Meaning, and Affect 765 IX Verbal Attributes and Semantics 766 X Species Differences: Animal Speech and Music 770 XI Perception of Tonality by the Monkey 776 XII Notes on the Neurophysiology of Music Perception 776 XIII Cognitive Musical Universals 780 XIV Coda 780 References 782 INDEX 793
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genre	(DE-588)4143413-4 Aufsatzsammlung gnd-content (DE-588)4151278-9 Einführung gnd-content
genre_facet	Aufsatzsammlung Einführung
id	DE-604.BV023313829
illustrated	Illustrated
index_date	2024-07-02T20:51:20Z
indexdate	2024-07-09T21:15:39Z
institution	BVB
isbn	9780122135651 0122135652
language	English
oai_aleph_id	oai:aleph.bib-bvb.de:BVB01-016498049
oclc_num	263451150
open_access_boolean
owner	DE-824
owner_facet	DE-824
physical	XVI, 807 S. Ill., graph. Darst., Notenbeisp.
publishDate	2007
publishDateSearch	2007
publishDateSort	2007
publisher	Acad. Press
record_format	marc
series2	Academic Press series in cognition and perception
spelling	The psychology of music ed. by Diana Deutsch 2. ed., [Nachdr.] Amsterdam [u.a.] Acad. Press 2007 XVI, 807 S. Ill., graph. Darst., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Academic Press series in cognition and perception Neurologie (DE-588)4041888-1 gnd rswk-swf Psychoakustik (DE-588)4176198-4 gnd rswk-swf Musik (DE-588)4040802-4 gnd rswk-swf Musikpsychologie (DE-588)4127817-3 gnd rswk-swf Kognition (DE-588)4031630-0 gnd rswk-swf Musikwahrnehmung (DE-588)4126097-1 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content (DE-588)4151278-9 Einführung gnd-content Musikpsychologie (DE-588)4127817-3 s Musikwahrnehmung (DE-588)4126097-1 s Neurologie (DE-588)4041888-1 s Psychoakustik (DE-588)4176198-4 s 1\p DE-604 Musik (DE-588)4040802-4 s Kognition (DE-588)4031630-0 s 2\p DE-604 3\p DE-604 DE-604 Deutsch, Diana Sonstige oth HEBIS Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016498049&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 3\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk
spellingShingle	The psychology of music Neurologie (DE-588)4041888-1 gnd Psychoakustik (DE-588)4176198-4 gnd Musik (DE-588)4040802-4 gnd Musikpsychologie (DE-588)4127817-3 gnd Kognition (DE-588)4031630-0 gnd Musikwahrnehmung (DE-588)4126097-1 gnd
subject_GND	(DE-588)4041888-1 (DE-588)4176198-4 (DE-588)4040802-4 (DE-588)4127817-3 (DE-588)4031630-0 (DE-588)4126097-1 (DE-588)4143413-4 (DE-588)4151278-9
title	The psychology of music
title_auth	The psychology of music
title_exact_search	The psychology of music
title_exact_search_txtP	The psychology of music
title_full	The psychology of music ed. by Diana Deutsch
title_fullStr	The psychology of music ed. by Diana Deutsch
title_full_unstemmed	The psychology of music ed. by Diana Deutsch
title_short	The psychology of music
title_sort	the psychology of music
topic	Neurologie (DE-588)4041888-1 gnd Psychoakustik (DE-588)4176198-4 gnd Musik (DE-588)4040802-4 gnd Musikpsychologie (DE-588)4127817-3 gnd Kognition (DE-588)4031630-0 gnd Musikwahrnehmung (DE-588)4126097-1 gnd
topic_facet	Neurologie Psychoakustik Musik Musikpsychologie Kognition Musikwahrnehmung Aufsatzsammlung Einführung
url	http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=016498049&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA
work_keys_str_mv	AT deutschdiana thepsychologyofmusic

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