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In Psychology of Music: From Sound to Significance (2nd edition), the authors consider music on a broad scale, from its beginning as an acoustical signal to its different manifestations across cultures. In their second edition, the authors apply the same richness of depth and scope that was a hallmark of the first edition of this text. In addition, having laid out the topography of the field in the original book, the second edition puts greater emphasis on linking academic learning to real-world contexts, and on including compelling topics that appeal to students'natural curiosity. Chapters have been updated with approximately 500 new citations to reflect advances in the field.The organization of the book remains the same as the first edition, while chapters have been updated and often expanded with new topics.'Part I: Foundations'explores the acoustics of sound, the auditory system, and responses to music in the brain.'Part II: The Perception and Cognition of Music'focuses on how we process pitch, melody, meter, rhythm, and musical structure.'Part III: Development, Learning, and Performance'describes how musical capacities and skills unfold, beginning before birth and extending to the advanced and expert musician. And finally,'Part IV: The Meaning and Significance of Music'explores social, emotional, philosophical and cultural dimensions of music and meaning. This book will be invaluable to undergraduates and postgraduate students in psychology and music, and will appeal to anyone who is interested in the vital and expanding field of psychology of music.

Our sense that a waltz is'in three'or a blues song is'in four with a shuffle'comes from our sense of musical meter. Hearing in Time explores the metric aspect of our musical experience from a psychological point of view. Musical meter is subject to a number of fundamental perceptual and cognitive constraints. These constraints are the cornerstones of Hearing in Time's account of musical meter. Hearing in Time also takes into account the fact that listening to music, like many other rhythmic activities, is something that we do a lot. It also approaches meter in the context of music as it is actually performed, with nuances of timing and dynamics, rather than as a theoretical idealization. Hearing in Time's approach to meter is not based on any particular musical style or cultural practice, and it discusses musical examples from a wide range of musical styles and cultures--from Beethoven and Bach to Brubeck and Ghanaian (Ewe) drumming. In taking this broad approach a number of fundamental similarities between a variety of different metric phenomena--such as the difference between so-called simple versus complex or additive meters - become apparent. Requiring only a modest ability to read a musical score, Hearing in Time is written for musicians, musicologists, and music theorists, as well as psychologists, linguists and cognitive scientists who are interested in rhythm and meter.

Cet ouvrage aborde l'histoire, la sociologie, la politique et la structure mathématique des gammes et modes arabes. Il lit les sciences cognitives (psychologie cognitive, et la sémiologie) sous l'angle de leurs apports potentiels à la compréhension des phénomènes musicaux arabes. Enfin, il présente des expérimentations sur la perception de la musique arabe improvisée par des auditeurs arabes et occidentaux et met en lumière les contraintes imposées par l'acculturation dans l'écoute et la compréhension musicales, mais également les différences individuelles au sein d'une même culture.

Comparer l'écoute du discours de l'analysant à celle de la musique baroque dans ce qu'elle recèle de plus spécifique à savoir : la fugue, c'est inviter le lecteur à une promenade sans but apparent ou du moins sans qu'un but ne se dessine avant même que la promenade soit terminée. - Comment parler de l'écoute analytique dans sa complexité? - Expérience de l'analyste est dans ce qui lui est donné d'entendre durant la séance, mais aussi dans ce à quoi il pense durant l'écoute…

This translation of this classic text contains a balance of cultural and biological considerations. While arguing for the strong influence of exposure and of formal training on the way that music is perceived, Frances draws on the literature concerning the amusias to illustrate his points about the types of cognitive abstraction that are performed by the listener.

This text comprises of reviews of work relating to music and mind. It presents a range of approaches from the psychological through the computational, to the musicological. The reviews were selected from papers submitted at the Third International Conference on Music Perception and Cognition Liege 1994 to illustrate the wide range of perspectives now being adopted in studying how humans make and respond to music. The book is divided ino five sections. The first part illustrates the role of analysis and ethnomusicology in understanding cultural determinants of musical behaviour. The second part charts what is known about aquisition of musical competence, from pre-birth through to the expert performer. The evidence accumulated about specific areas of the brain which control musical thinking and behaviour is examined in Part Three. The fourth part examines how neurological, behavioural and artificial intelligence approaches are converging to shed light on processes in auditory perception. Finally, Part Five highlights the important developments in how we conceptualize the way in which musical structures are represented in the mind.