The Psychology of Music

The Psychology of Music serves as an introduction to an interdisciplinary field in psychology, which focuses on the interpretation of music through mental function. This interpretation leads to the characterization of music through perceiving, remembering, creating, performing, and responding to music.In particular, the book provides an overview of the perception of musical tones by discussing different sound characteristics, like loudness, pitch and timbre, together with interaction between these attributes. It also discusses the effect of computer resources on the psychological study of music through computational modeling. In this way, models of pitch perception, grouping and voice separation, and harmonic analysis were developed. The book further discusses musical development in social and emotional contexts, and it presents ways that music training can enhance the singing ability of an individual. The book can be used as a reference source for perceptual and cognitive psychologists, neuroscientists, and musicians. It can also serve as a textbook for advanced courses in the psychological study of music.

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