Music Psychology for Musicians
Donald A. Hodges University of North Carolina at Greensboro and David C. Sebald University of Texas at San Antonio
Music Psychology for Musicians, p. 2
MUS IC PS YCHOLOGY FOR MUS ICIANS Donald A. Hodges1 and David C. Sebald2 1 University of North Carolina at Greensboro 2 University of Texas at San Antonio Chapter 1. What is Music Psychology? A Brief Tour of the Model of Music Psychology Contributions from Sociology Contributions from Anthropology Contributions from Biology Contributions from Philosophy Contributions from Physics Contributions from Psychology Contributions from Education Contributions from Music Chapter 2. The History and Literature of ...view middle of the document...
Psychoacoustics and the Perception of Music The Critical Band* The Perception of Pitch* Pitch Discrimination* Pitch Matching Absolute Pitch The Perception of Loudness* The Perception of Timbre* The Perception of Duration* Secondary Relationships* Pitch Loudness Timbre
Music Psychology for Musicians, p. 4 Duration Volume and Density Conclusion Chapter 8. Music Cognition Gestalt Laws of Cognitive Organization* Auditory Scene Analysis Schemata The Spotlight of Attention* The Cocktail Party Phenomenon and Selective Attention Musical Memory* Expectancy Theory* Chapter 9. The Influence of Music on Bodily Responses Physiological Responses to Music Heart Rate and Pulse Rate Blood Pressure Respiration Skin Conductance Responses Biochemical Responses Skin, Finger or Body Temperature Miscellaneous Responses Blood Volume Blood-Oxygen Saturation Gastric Motility Physical Responses to Music Muscular and Motor Responses Facial Gestures Body Movements Behavioral Responses Music and Exercise Music and Dance Music-Influenced Decision Making Gender Differences Musician/Non-musician Differences Concluding Statement Chapter 10. Music and Emotions The Cognitivist Position The Emotivist Position A Third Viewpoint Summary Chapter 11. Why Are We Musical? Rhythm, a Fundamental Life Process
Music Psychology for Musicians, p. 5 Biophony Mother-Infant Bonding The Acquisition of Language A Unique Mode of Knowing Social Organization Summary Chapter 12. The Musical Brain Brief Introduction to Cognitive Neuroscience Neuroanatomy Neurophysiology Plasticity Pruning Critical Periods A Neural Network of Brain Functioning Learning and Memory Techniques for Studying the Brain Examining Brain-Damaged Individuals Dichotic Listening Tasks Electroencephalography Event-Related Potentials Magnetoencephalography Positron-Emission Tomography Magnetic Resonance Imaging Functional Magnetic Resonance Imaging Transcranial Magnetic Stimulation Diffusion Tensor Imaging Overview of Neuromusical Research Support from Ancillary Disciplines Anthropology and Ethnomusicology Ethology Music Psychology Support from Indirect Approaches Fetal and Infant Responses to Music The Effect of Brain Damage on Musical Behaviors Amusia Musical Prodigies and Savants Williams Syndrome Alzheimer's Disease Musicogenic Epilepsy and Auditory Hallucinations General Findings from Neuromusical Research Perception and Cognition Affective Responses Musical Performance Music Learning Conclusions
Music Psychology for Musicians, p. 6
Chapter 13. Music Performance Motor Skills Neuromotor Aspects of Music Making Motor Aspects of Music Making The Acquisition of Motor Skills Audio-Motor Systems Quantity of Practice Cognitive Skills Quality of Practice Mental Rehearsal Music Reading Metacognition, Self-Regulation, and Self-Efficacy Expressive Skills Body Movement Musical Cues for Expressiveness Conclusions Chapter 14. Music Therapy — Music Medicine — Performing Arts Medicine Music Therapy Autism Cerebral Palsy...