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Oxford Handbook of Music Psychology
Edited by Susan Hallam, Ian Cross, and Michael Thaut
600 pages
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55 black & white figures; 6 colour figures
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246x171mm
978-0-19-929845-7
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Hardback
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04 December 2008
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- A landmark text in the music psychology literature, providing a truly comprehensive overview of the entire field, covering cognition, neuroscience, education, and therapy
- Includes over 50 chapters specially commissioned for the text, each written by the authority in that area
- The volume benefits from a team of specialist advisors, enabling coverage of the field that has hitherto been impossible in any one text
The field of Music Psychology has grown dramatically in the past 20 years, to emerge from being just a minor topic to one of mainstream interest within the brain sciences. However, until now, there has been no comprehensive reference text in the field.
The Oxford Handbook of Music Psychology is a landmark text providing, for the first time ever, a comprehensive overview of the latest developments in this fast-growing area of research. With contributions from over fifty experts in the field, the range and depth of coverage is unequalled. All the chapters
combine a solid review of the relevant literature with well-reasoned arguments and robust discussions of the major findings, as well as original insights and suggestions for future work.
Written by leading experts, the 52 chapters are divided into 11 sections covering both experimental and theoretical perspectives, each edited by an internationally recognised authority
Ten sections each present chapters that focus on specific areas of music psychology:
- the origins and functions of music
- music perception
- responses to music
- music and the brain
- musical development
- learning musical skills
- musical performance
- composition and
improvisation
- the role of music in our everyday lives
- music therapy and conceptual frameworks
In each section, expert authors critically review the literature, highlight current issues, and explore possibilities for the future. The final section examines how in recent years the study of music psychology has broadened to include a range of other scientific disciplines. It considers the way that the research has developed in relation to technological advances, fostering links across the field and providing an overview of the areas where the field needs further development in the future.
The Oxford Handbook of Music Psychology will be the essential reference text for students and researchers across psychology and
neuroscience.Readership: Students and researchers in music psychology and music education; development psychologists and musicologists
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Edited by Susan Hallam, Dean of the Faculty of Policy and Society, Institute of Education, University of London, UK, Ian Cross, Director, Centre for Music & Science, Faculty of Music, University of Cambridge, UK, and Michael Thaut, Dean, School of the Arts, Colorado State University; Director, Centre for Biomedical Research in Music, Colorado State University, Fort Collins CO, USA Contributors:
Bronwen Ackermann
Eckart Altenmueller, Institut für Musikphysiologie und Musiker-Medizin, Hannover, Germany
Richard Ashley, School of Music, Northwestern University, Evanston IL, USA
Kristen T Begosh,
Emmanuel Bigand, Pole LEAD, AAFE, University of Bourgogne, Dijon, France
Tim Byron, MARCS Auditory Laboratories, University of Western Sydney, Penrith South DC NSW, Australia
Roger Chaffin, Dept of Psychology, University of Connecticut, Storrs CT, USA
Alicia Clair,
Martin Clayton, The Music Department, The Open University, Milton Keynes, UK
Annabel J Cohen, Dept of Psychology, University of Prince Edward Island, Charlottetown PEI, Canada
Andrea Creech, Institute of Education, University of ''London, UK
Ian Cross, Faculaty of Music, University of Cambridge, Cambridge, UK
Simone Dalla Bella,
Jane W Davidson, Dept of Music, University of Sheffield,
Sheffield, UK
Shannon de l'Etoile, University of Miami, Frost School of Music, Coral Gables FL, USA
Alf Gabrielsson, Dept of Psychology, Uppsala University, Uppsala, Sweden
Helena Gaunt, Guildhall School of Music, London, UK
Bruno L Giordano,
Alinka Greasley, School of Psychology, Keele University, Keele, UK
Timothy D Griffiths, School of Neurology, Newcastle University School of Medicine, Newcastle upon Tyne, UK
Susan Hallam, Institute of Education, University of London, UK
David J Hargreaves, Centre for International Research on Creativity and Learning in Education, Roehampton University, London, UK
Donald A Hodges, University of North Carolina at Greensboro, Greensboro NC, USA
David Huron, School of Music, Ohio State University, Columbus OH, USA
Corene Hurt-Thaut, Dept of Music, Colorado State University, Fort Collins CO, USA
Jonathan Impett, School of Music, University of East Anglia, Norwich, UK
Harald Jorgensen, The Norwegian Academy of Music, Oslo, Norway
Patrik N Juslin, Dept of Psychology, Uppsala University, Uppsala, Sweden
Dianna T Kenny, School of Behavioural & Community Health Sciences, University of Sydney, Sydney NSW, Australia
Reinhard Kopiez, Hochschule für Musik und Theater, Hannover, Germany
Alexandra Lamont, School of Psychology, Keele University, Keele, UK
Andreas C Lehmann, Hochschule für Musik, Würzburg, Germany
Anne Kathrin Leins, Hamburg,
Germany
Topher Logan,
Stephen McAdams, Schulich School of Music of McGill University, Montreal, Canada
Raymond MacDonald, Dept of Psychology, Glasgow Caledonian University, Glasgow, UK
Gary McPherson, School of Music, University of Illinois, Urbana, IL, USA
Dorothy Miell, Dept of Psychology, The Open University, Milton Keynes, UK
Adrian C North, School of Life Sciences, Heriot Watt University, Edinburgh, UK
Adam Ockelford, Institute of Education, University of London, UK
Richard Parncutt, Dept of Musicology, University of Graz, Graz, Austria
Aniruddh D Patel, The Neuroscience Institute, San Diego CA, USA
Benedicte Poulin-Charronat, Pole LEAD, AAFE, University of Bourgogne, Dijon,
France
Frances H Rauscher, Dept of Psychology, University of Wisconsin Oshkosh, Oshkosh WI, USA
Mari Riess Jones, Santa Barbara CA, USA
Gottfried Schlaug, Music & Neuroimaging Laboratory, Beth Israel Deaconess Medical Center, Boston MA, USA
Mark A Schmuckler, Division of Life Sciences, University of Toronto, Scarborough ON, Canada
Sabine Schneider,
John Sloboda, School of Psychology, Keele University, Keele, UK
Bob Snyder, Chicago IL, USA
Ralph Spintge,
Thomas Stainsby, Dept of Experimental Psychology, University of Cambridge, Cambridge, UK
Catherine Stevens, MARCS Auditory Laboratories, University of Western Sydney, Penrith South DC NSW, Australia
Lauren Stewart,
Institute of Cognitive Neuroscience, University College London, UK
Michael Thaut, Dept of Music, Theatre & Dance, Colorado State University, Fort Collins CO, USA
Elizabeth Tolbert,
Laurel J Trainor, Dept of Psychology, Neuroscience & Behaviour, McMaster University, Hamilton ON, Canada
Sandra E Trehub, Dept of Psychology, University of Toronto, Mississauga ON, Canada
Katharina von Kriegstein,
Jason D Warren
Peter R Webster, School of Music, Northwestern University, Evanston IL, USA
Graham Welch, Institute of Education, University College London, UK
John Whaley,
Barbara Wheeler, School of Music, University of Louisville, Louisville KY, USA
W Luke Windsor, School of
Music, University of Leeds, Leeds, UK
Robert J Zatorre, Dept of Neuropsychology, Montréal, QC, Canada
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Part I - The Origins and Functions of Music edited by Ian Cross
1: Ian Cross: The nature of music and its evolution
2: Catherine Stevens & Tim Byron: Universals in music processing
3: Ian Cross & Elizabeth Tolbert: Music and meaning
4: Martin Clayton: The social and personal functions of music in cross-cultural perspective
Part II - Music Perception edited by Ian Cross
5: Thomas Stainsby & Ian Cross: The perception of pitch
6: Emmanuel Bigand & Benedicte Poulin-Charronat: Tonal cognition
7: Stephen McAdams & Bruno L Giordano: The perception of musical timbre
8: Mari Riess Jones: Musical time
9: Mark A Schmuckler: Components of melodic processing
10: Bob Snyder: Memory for music
Part III - Responses to Music edited by Donald Hodges
11: Donald A Hodges: Bodily responses to music
12: Patrik N Juslin: Emotional responses to music
13: Alf Gabrielsson: The relationship between musical structure and perceived expression
14: David Huron: Aesthetics
15: Alexandra Lamont & Alinka Greasley: Musical preferences
Part IV - Music and the Brain edited by Aniruddh Patel
16: Laurel J Trainor & Robert J Zatorre: The neurobiological basis of musical expectations
17: Lauren Stewart, Katharina von Kriegstein, Simone Dalla Bella, Jason D Warren & Timothy D Griffiths: Disorders of musical cognition
18: Gottfried Schlaug: Music, musicians and brain plasticity
19: Aniruddh D Patel: Music and the brain: three links to language
Part V - Musical Development edited by David Hargreaves
20: Richard Parncutt: Prenatal development and the phylogeny and ontogeny of musical behaviour
21: Sandra E Trehub: Music lessons from infants
22: Alexandra Lamont: Music in the school years
23: Frances H Rauscher: The impact of music instruction on other skills
Part VI - Learning Musical Skills edited by Susan Hallam
24: Gary McPherson & Susan Hallam: Musical potential
25: Harald Jorgensen & Susan Hallam: Practising
26: Helena Gaunt & Susan Hallam: Individuality in the learning of musical skills
27: Susan Hallam: Motivation to learn
28: Andrea Creech: The role of the family in support learning
29: Graham Welch & Adam Ockelford: The role of the institution and teachers in supporting learning
Part VII - Musical Performance edited by Richard Parncutt
30: W Luke Windsor: Measurement and models of performance
31: Eckart Altenmueller & Sabine Schneider: Planning and performance
32: Andreas C Lehmann & Reinhard Kopiez: Sight-reading
33: Roger Chaffin, Topher Logan & Kristen T Begosh: Performing from memory
34: Jane W Davidson: Movement and collaboration in musical performance
35: Patrik N Juslin: Emotion in music performance
36: Dianna T Kenny & Bronwen Ackermann: Optimising physical and psychological health in performing musicians
Part VIII - Composition and Improvisation edited by Peter Webster
37: Jonathan Impett: Making a mark: the psychology of composition
38: Richard Ashley: Musical improvisation
39: Peter R Webster: Children as creative thinkers in music: focus on composition
Part IX - The Role of Music in our Everyday Lives edited by John Sloboda
40: John Sloboda, Alexandra Lamont & Alinka Greasley: Choosing to hear music: motivation, process and effect
41: Annabel J Cohen: Music in performance arts: film, theatre and dance
42: John Whaley, John Sloboda & Alf Gabrielsson: Peak experiences in music
43: Raymond MacDonald, David J Hargreaves & Dorothy Miell: Musical identities
44: Susan Hallam & Raymond MacDonald: The effects of music and community and educational settings
45: Adrian C North & David J Hargreaves: Music and consumer behaviour
Part X - Music Therapy edited by Michael Thaut
46: Shannon de l'Etoile & Alicia Clair: Music therapy: processes of music therapy
47: Corene Hurt-Thaut: Clinical practice in music therapy
48: Barbara Wheeler: Research and evaluation in music therapy
49: Anne Kathrin Leins, Ralph Spintge & Michael Thaut: Music therapy in medical and neurological rehabilitation settings
Part XI - Conceptual Frameworks, Research Methods and Future edited by Susan Hallam, Ian Cross & Michael Thaut
50: Adam Ockelford: Beyond music psychology
51: Michael Thaut: History and research
52: Susan Hallam, Ian Cross & Michael Thaut: Where now?
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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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