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Musical Communication
Edited by Dorothy Miell, Raymond MacDonald, and David J. Hargreaves
452 pages
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numerous tables, halftones and line drawings
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234x156mm
978-0-19-852935-4
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Hardback
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14 July 2005
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This item is printed to order. Items which are printed to order are normally despatched and charged within 5-10 days.
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- The first book to examine how music can act as a form of communication, presenting a broad interdisciplinary perspective - including biological, cultural, social, and cognitive processes
- From the same editors who produced the successful and highly praised 'Musical Identities'
- A new addition to the prestigious Oxford University Press music psychology list, the only such list around
Music is a powerful means of communication. It provides a means by which people can share emotions, intentions, and meanings even though their spoken languages may be mutually incomprehensible. It can also provide a vital lifeline to human interaction for those whose special needs make other means of communication difficult. Music can exert powerful physical effects, can produce deep and profound emotions within us, and can be used to generate infinitely subtle variations of expressiveness by skilled composers and performers.
This new addition to the music psychology list brings together
leading researchers from a variety of academic and applied backgrounds. It examines how music can be used to communicate and the biological, cognitive, social, and cultural processes which underlie such communication. Taking a broad, interdisciplinary look at all aspects of communication, from the symbolic aspects of musical notation, to the use of music in advertising, the book is the first of its kind. It will be valuable for all those involved in music psychology, music education, and communication studies.
Readership: Music psychologists, music educators, music therapists, expermental psychologists
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Edited by Dorothy Miell, Professor of Psychology, The Open University, Milton Keynes, UK, Raymond MacDonald, Reader in Psychology, Glasgow Caledonian University, Glasgow, UK, and David J. Hargreaves, Professor of Education, The Open University, Milton Keynes, UK Contributors:
Gary Ansdell, Nordoff-Robbins Music Therapy Centre, London, UK; Jeanne Bamberger, Massachusetts Institute of Technology, Cambridge, USA; Margaret Barrett, Faculty of Education, University of Tasmania, Launceston, Australia; Charles Byrne, Department of Applied Arts, University of Strathclyde, Glasgow, UK; Martin Clayton, Faculty of
Arts, The Open University, UK; Annabel J. Cohen, Department of Psychology, University of Prince Edward Island, Charlottetown, Canada; Ian Cross, Faculty of Music, University of Cambridge, UK; Jane Davidson, Department of Music, University of Sheffield, UK; David J. Hargreaves, The Open Univerity, UK; Patrik N. Juslin, Department of Psychology, University of Uppsala, Sweden; Scott D. Lipscomb, Northwestern University School of Music, EvanstonL, USA; Raymond MacDonald, Department of Psychology, Glasgow Caledonian University, Glasgow, UK; Janis McNair, Centre for Political Song, Glasgow Caledonian University, Glasgow, UK; Dorothy Miell, Department of Psychology, The Open University, UK; Adrian C. North, School of Psychology, University of Leicester, UK; John Powles, Centre for Political Song,
Glasgow Caledonian University, Glasgow, UK; R. Keith Sawyer, Department of Education, University of Washington, St Louis, USA; Michael H. Thaut, Center for Biomedical Research in Music, Colorado State University, Fort Collins, USA; David E. Tolchinsky, Northwestern University School of Communication, Evanston, USA; Graham F. Welch, Institute of Education, University of London, UK; Graeme Wilson, Department of Psychology, Glasgow Caledonian University, Glasgow, UK; Susan Young, School of Education and Lifelong Learning, University of Exeter, UK
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1: David J. Hargreaves, Raymond MacDonald & Dorothy Miell: How do people communicate using music?
2: Ian Cross: Music and meaning, ambiguity and evolution
3: R. Keith Sawyer: Music and conversation
Cognition, Representation and Communication
4: Annabel J. Cohen: Musical cognition: defining constraints on musical communication
5: Patrik N. Juslin: From mimesis to catharsis: expression, perception and induction of emotion in music
6: Margaret Barrett: Representation, cognition and musical communication: invented notation in children's musical communication
7: Jeanne Bamberger: How the conventions of music notation shape musical perception and performance
Embodied Communication
8: Michael H. Thaut: Rhythm, human temporality and brain function
9: Gary Ansdell: Musical companionship, musical community: music therapy and the process and value of musical communication
10: Jane Davidson: Bodily communication in musical performance
11: Graham F. Welch: Singing as communication
Communication in Learning and Education
12: Margaret Barrett: Musical communication and chnildren's communities of musical practice
13: Susan Young: Musical communication between adults and young children
14: Charles Byrne: Pedagogical communication in the music classroom
Cultural Contexts of Communication
15: Raymond MacDonald, Dorothy Miell & Graeme Wilson: Talking about music: a vehicle for identity development
16: Janis McNair & John Powles: Hippies vs hip-hop heads: an exploration of music's ability to communicate an alternative political agenda from the perspective of two divergent musical genres
17: Martin Clayton: Communication in Indian raga performance
18: Scott D. Lipscomb & David E. Tolchinsky: The role of music communication in cinema
19: Adrian C. North & David J. Hargreaves: Musical communication in commercial contexts
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The specification in this catalogue, including without limitation price, format, extent, number of illustrations, and month of publication, was as accurate as possible at the time the catalogue was compiled. Occasionally, due to the nature of some contractual restrictions, we are unable to ship a specific product to a particular territory. Jacket images are provisional and liable to change before publication.
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