Radocy, Rudolf E.
Springfield, Illinois, U.S.A. : Charles C Thomas, Publisher, Ltd., 2012.;©2012
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Notes:
- Includes bibliographical references and indexes.
- 1. Introduction. Purpose Scope Preview — 2. Music, a phenomenon of people, society, and culture. Why Music? Cultural Anthropological Functions Sociological Functions Psychological Functions Another Perspective What Makes Some Sounds Music? Origins of Music Music, Universals, Society, and Culture — 3. Functional applications of music in contemporary life. Stimulative and Sedative Music Differential Responses to Stimulative and Sedative Music Music in Ceremonies Commercial Music Background Music Muzak’s Development Music in the Workplace Music in the Marketplace Music in Advertising Music as Entertainment Music for Enhancing Narration Therapeutic Uses of Music Founding Principles Music Therapy Approaches and Practices New Directions in Music Therapy Music to Facilitate Nonmusical Learning — 4. Psychoacoustical foundations. Production of Musical Sounds Transmission of Musical Sounds Reception of Musical Sounds From Air to Inner Ear From Inner Ear to Brain Pitch Phenomena Frequency-Pitch Relationship Pitch Processing of Single Pure Tones Pitch Processing of Combined Pure Tones Pitch Processing of Complex Tones Combination Tones Otoacoustic Emissions Intervals Consonance-Dissonance Apparent Pitch Apparent Size Beating Absolute Pitch Pitch Measurement Loudness Phenomena Intensity-Loudness Relationship Volume, Density, Annoyance, and Noisiness Measurement of Loudness Stimulus Measures Response Measures The Power Law Masking Loudness Summation Dangers to Hearing Timbre Phenomena Waveform-Timbre Relationship Influences within Waveform Tone Source Recognition Measurement of Timbre — 5. Rhythmic foundations — Functions of Rhythm in Music Rhythmic Structure in Music Movement and Rhythm Perception and Performance Perceptual and Cognitive Underpinnings of Rhythmic Behavior Early Noncognitive Theories Cognitive-Based Theories Beat/Tempo Perception Meter Perception Rhythm Groups Expressive T
- 6. Melodic and harmonic foundations. Extended Definitions Melody Structural Characteristics of Melody Perceptual Organization of Melody Harmony Structural Characteristics of Harmony Perceptual Organization of Harmony Tonality Scales and Modes Functions of Scales Scale Tuning Systems Major and Minor Modes Other Modes Other Types of Pitch Organization Psychological Processes Hierarchical Perceptual Structures Empirical Studies of Perception and Memory Expectations and Information Theory Research on Musical Expectancy Pitch-Related Behaviors Receptive Behaviors Production Behaviors Development of Melodic and Harmonic Behaviors Research-Based Findings Music Teachers’ Views Evaluating Melodies and Harmonies What Is Good Melody? What Is Acceptable Harmony? Evaluation of Melodic and Harmonic Behaviors — 7. Foundations of performance, improvisation, and composition. Performance as Psychomotor Behavior Practice Techniques Performance Expertise Performance Anxiety Improvisation Historical Perspective Psychological Perspective Jazz Improvisation Evaluating Improvisation Improvisation as a Teaching Tool Composition A Theoretical Perspective Compositional Approaches of Selected Composers Composition Theory Composition as a Teaching Tool — 8. Affective behaviors and music. Extended Definitions Affect Emotion Aesthetic Other Definitions Types of Affective Response Approaches to Studying Affective Responses to Music Physiological Measures Adjective Descriptors Philosophical Inquiry Psychological Aesthetics Meaning in Music Variables Contributing to Musical Meaning — 9. Musical preferences. What Is Good Music? Existing Musical Preferences Surveys and Classical Music Preferences Popular Music Summary of Existing Preferences Influences on Musical Preferences Altering Musical Preferences — 10. Musical ability and learning. Extended definitions Selected Influences on Musical Ability Auditory Acui
- The fifth edition of Psychological Foundations of Musical Behavior appears at a time of continuing worldwide anxiety and turmoil. We have learned a lot about human musical behavior, and we have some understanding of how music can meet diverse human needs. In this exceptional new edition, the authors have elected to continue a one volume coverage of a broad array of topics, guided by three criteria: The text is comprehensive in its coverage of diverse areas comprising music psychology it is comprehensible to the reader and it is contemporary in its inclusion of information gathered in recent years. Chapter organization recognizes the traditional and more contemporary domains, with special emphases on psychoacoustics, musical preference, learning, and the psychological foundations of rhythm, melody, and harmony. Following the introductory preview chapter, the text examines diverse views of why people have music and considers music’s functions for individuals, its social values, and its importance as a cultural phenomenon. Functional music and music as a therapeutic tool is discussed, including descriptions and relationships involving psychoacoustical phenomena, giving considerable attention to perception, judgment, measurement, and physical and psychophysical events. Rhythmic behaviors and what is involved in producing and responding to rhythms are explored. The organization of horizontal and vertical pitch, tonality, scales, and value judgments, as well as related pedagogical issues are also considered. The basic aspects of musical performance, improvisation, composition, existing musical preferences and tastes, approaches to studying the affective response to music with particular emphasis on developments in psychological aesthetics are examined. The text closely relates the development and prediction of musical ability, music learning as a form of human learning, and music abnormalities, concluding with speculation regarding future research directions. The authors offer their latest review of aspects of h
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