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Cognition and Creativity in the Musical Moment
Aaron Berkowitz
£39.99
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The Psychology of Performance, Improvisation, and Composition
John Sloboda
£53.00
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Music and the Mind
Essays in honour of John Sloboda
Edited by Irène Deliège and Jane Davidson
448 pages
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234x156mm
978-0-19-958156-6
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Paperback
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17 February 2011
Price:
£37.99 £9.49
Please note, this offer price only applies to individual customers when ordering direct from Oxford University Press, while stock lasts. No further discounts will apply. If you are a bookseller, please contact your OUP sales representative.
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- A celebration of one of the founders of the field of music psychology, reviewing his work, and considering where the field stands 25 years of the publication of 'The Musical Mind'
- Features chapters written by an international team of leading figures from the fields of music and psychology
- Provides a broad and cutting-edge review of the field of music psychology in the 21st Century
The Musical Mind, published in 1985, was written by the relatively unknown John Sloboda. It made ground-breaking inroads in raising crucial questions relating to music's status as a form of human expression and has become the seminal text in the field of music psychology. The scope of that book was impressive: from music perception to production, embracing topics as diverse as music's origin and the circumstances that encourage its skill acquisition. Musical structure, grouping, and perceptual processing, including memory, were key areas where John Sloboda had made early empirical investigations. Discussion of emotional
responses and creative processes were far more inductively written, based on his own personal experiences. The Musical Mind laid a research agenda in asking those crucial 'how' and 'why' questions that have since occupied a growing body of researchers from all over the world.
Following a quarter of a century after that seminal work, Music and the Mind celebrates the life and work of John Sloboda whilst taking stock of where the field of music psychology stands 25 years after The Musical Mind first appeared. It reviews key areas of current research in the field, written by world-leading authors, each making a significant and original academic contribution. Offering a timely review of the field of music psychology in the 21st Century, the contributors to Music and
the Mind also reflect on how the field has been significantly stimulated by the influential work of John Sloboda. This book is fascinating reading for students and researchers in music psychology and musicology, as well as music professionals.Readership: Students and researchers in psychology, music, education
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Edited by Irène Deliège, University of Liège, Belgium, and Jane Davidson, University of Western Australia, Australia Irène Deliège obtained her qualifications at the Royal Conservatory of Brussels. After a twenty year career as a music teacher, she retrained in psychology and obtained her PhD in 1991 from the University of Liège where she was responsible for the Unit of Research in Psychology of Music. A founding member of ESCOM, she has acted since its inception as permanent secretary and Editor of the Journal MUSICÆ SCIENTIÆ. She is the author of several articles and co-edited books dedicated to music perception.
Jane Davidson is the current Callaway/Tunely Chair of Music at the University of Western Australia. She has published extensively within psychology of music with research topics including expressive body movement, collaborative performance, music learning and ability, and singing. Her first academic appointment was at University of Keele between 1991-1993, where she worked as a post-doctoral fellow with John Sloboda and Michael Howe on an innovatory study of the biographical determinants of musical abilities. This led to more than 20 joint peer-reviewed publications. Contributors:
Arild Bergh, Department of Sociology and Philosophy, University of Exeter, UK
Mario Baroni, University of Bolonga, Italy
Roberto Caterina, Universities of Bologna and Trento, Italy
Roger Chaffin, University of Connecticut, USA
Eric Fillenz Clarke, Faculty of Music, University of Oxford, UK
Nicholas J. Cook, Faculty of Music, University of Cambridge, UK
Rossana Dalmonte, Trento University, Italy
Jane Davidson, School of Music, University of Western Australia, Australia
Irène Deliège, University of Liège, Belgium
Alf Gabrielsson, Department of Psychology, Uppsala University, Sweden
Jane Ginsborg, Royal Northern College of Music, Manchester, UK
Michel Imberty, University of Paris, France
Antonia Ivaldi, Royal Northern
College of Music, Manchester, UK
Patrik N. Juslin, Department of Psychology, Uppsala University, Sweden
Reinhard Kopiez, Hanover University of Music and Drama, Germany
Alexandra Lamont, Keele University, UK
Andreas Lehmann, University of Würzburg, Germany
Geoff Luck, University of Jyväskylä, Finland
Daniel Müllensiefen, Intelligent Sound and Music Systems Group Centre for Cognition, Computation and Culture Goldsmiths, University of London, UK
Adam Ockelford, Southlands College, Roehampton University, London, UK.
Susan O'Neill, Simon Fraser University, Canada
Richard Parncutt, University of Graz, Austria
Frederick A. Seddon, Northampton University, UK
Geraint A. Wiggins, Intelligent Sound and Music Systems Group Centre for Cognition, Computation and Culture Goldsmiths, University of London, UK
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Jane Davidson and Irène Deliège: Prelude
John Sloboda and his contribution
1: Michel Imberty: Music, linguistics and cognition
2: Eric Fillenz Clarke: 'What are the important questions?' A reflection
Motivating Musical Lives
3: Susan O'Neill: Developing a young musician's growth mindset: the role of motivation, self-theories and resiliency.
4: Alexandra Lamont: Negotiating Music in the Real World: development, motivation, process and effect
5: Jane Davidson: Musical Participation: Expectations, Experiences and Outcomes
Music and Emotion
6: Alf Gabrielsson: How do Strong Experiences with Music (SEM) relate to experiences in everyday listening to music?
7: Patrik N. Juslin: Music and Emotion: Seven Questions, Seven Answers
Sloboda's Recall Paradigm
8: Mario Baroni, Rossana Dalmonte and Roberto Caterina: Perception of melody. An empirical approach
9: Daniel Muellensiefen and Geraint A. Wiggins: Sloboda's recall paradigm for melodic memory: A new, computational perspective
Musical Achievement and Expertise
10: Frederick A. Seddon: Musical encounters of the temporary kind
11: Antonia Ivaldi: Routes to Adolescent Musical Expertise
12: Reinhard Kopiez: The musical child prodigy (Wunderkind) in music history: A historiometric analysis
13: Adam Ockelford: : Evidence from a Savant of how Atonal Music is Processed in Cognition'
Examining Musical Performance
14: Nicholas J. Cook: Off the record: performance, history, and musical logic
15: Andreas Lehmann: Expressive Variants in the Opening Robert Schumann's Arlequin (from Carnaval, op. 9): 54 Pianists' Interpretations of a Metrical Ambiguity
16: Geoff Luck: Quantifying the beat-inducing properties of conductors' temporal gestures, and conductor-musician synchronization
17: Jane Ginsborg and Roger Chaffin: Performance cues in singing: Evidence from practice and recall
Music and cultural integration
18: Arild Bergh: Emotions in motion: Transforming conflict with the help of music
19: Richard Parncutt and Angelika Dorfer: The role of music in the integration of cultural minorities
Irène Deliège: Postlude
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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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