Last edited by Malrajas
Sunday, July 19, 2020 | History

1 edition of The psychology of music found in the catalog.

The psychology of music

Bernard Simon Talmey

The psychology of music

by Bernard Simon Talmey

  • 143 Want to read
  • 21 Currently reading

Published in New York :[s.n.] .
Written in English

    Subjects:
  • Music,
  • Psychological aspects

  • Edition Notes

    Reprint: American medicine. New series, v. 16, no. 7. July, 1921.

    Statementby B.S. Talmey
    Classifications
    LC ClassificationsML3830 .T15
    The Physical Object
    Pagination40 p. ;
    Number of Pages40
    ID Numbers
    Open LibraryOL24910156M
    LC Control Number2011561050
    OCLC/WorldCa42522304

    both by music theorists and by psychologists. Finally, I discuss the role of psychology in music theory. HISTORICAL PERSPECTIVE Speculations concerning music may be traced back to very ancient times (Hunt, ), but the foundations of Western music theory are generally held to have been laid by Pythagoras (ca. B.C.). *The following note from the Music Educator* Journal, September, , IB self-explanatory: "In a series of reports from the laboratory-studio for the Psychology of Music, Carl E. Seashore has presented to Journal readers specimens of scientific findings dealing with various phases of the psychology of music.

      The Psychology of Music draws together the diverse and scattered literature on the psychology of music. It explores the way music is processed by the listener and the performer and considers several issues that are of importance both to perceptual psychology and to contemporary music, such as the way the sound of an instrument is identified regardless of its pitch or loudness, or Book Edition: 1.   Psychology of Music 3, Download Citation If you have the appropriate software installed, you can download article citation data to the citation manager of your : Lisa Aufegger.

    ISBN: OCLC Number: Description: xvii, pages: illustrations, music ; 24 cm: Contents: The perception of musical tones / R.A. Rasch and R. Plomp --Exploration of timbre by analysis and synthesis / Jean-Claude Risset and David L. Wessel --Perception of singing / Johan Sundberg --Grouping mechanisms in music / Diana Deutsch --The. Introductory: The appeal of music --Part one: The psychology of tonal and rhythmic forms --Tonal foundations of music 1: The perceptual organization of sound --Tonal foundations of music 2: Musical organization --The perception of rhythm --The structure of musical rhythm --Part two: The psychology of musical function: listening.


Share this book
You might also like
Dino gets a bath

Dino gets a bath

If you were quotation marks

If you were quotation marks

Clue for murder.

Clue for murder.

Information bulletin No.7

Information bulletin No.7

A special study of Operation Vittles.

A special study of Operation Vittles.

Universal declaration of human rights.

Universal declaration of human rights.

Elegant small homes of the twenties

Elegant small homes of the twenties

Surveying derelict land

Surveying derelict land

American idol profiles index

American idol profiles index

The neer-do-weel

The neer-do-weel

Culpepers English physician and complete herbal

Culpepers English physician and complete herbal

GREAT GILLY HOPKINS

GREAT GILLY HOPKINS

Theoretical models and personality theory

Theoretical models and personality theory

David Copperfield

David Copperfield

The psychology of music by Bernard Simon Talmey Download PDF EPUB FB2

The Psychology of Music serves as an introduction to an interdisciplinary field in psychology, which focuses on the interpretation of music through mental function. This interpretation leads to the characterization of music through perceiving, remembering, creating, performing, and responding to music/5(6).

About the Author. Dianna Kenny is a Professor of Psychology and a Professor of Music at the University of Sydney, Australia. She was the Founding Director of the Australian Centre for Applied Research in Music Performance at the Sydney Conservatorium of Music, University of Sydney, a Cited by: The psychology of music in multimedia and millions of other books are available for Amazon Kindle.

Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - Cited by:   The Psychology of Music.

The Psychology of Music serves as an introduction to an interdisciplinary field in psychology, which focuses on the interpretation of music through mental function. This interpretation leads to the characterization of music through perceiving, remembering, creating, performing, and responding to music/5(15).

Since the First Edition of The Psychology of Music was published the field has emerged from an interdisciplinary curiosity into a fully ramified subdiscipline of psychology due to several factors. The opportunity to generate, analyze, and The psychology of music book sounds by computer is no longer limited to a few researchers with access to large multi-user facilities, but rather is available to individual investigators.

It explores the way music is processed by the listener and the performer and considers several issues that are of importance both to perceptual psychology and to contemporary music, such as the way the sound of an instrument is identified regardless of its pitch or loudness, or the types of information that can be discarded in the synthetic replication of a sound without distorting perceived timbre.

Assuming minimal background in music or psychology, the book begins with an overview of the major theories on how and when music became a widespread aspect of human behavior.

It also covers: * How humans perceive music * Links between music and emotion * Modern neuroimaging techniques and what they tell us about music's effect on the brain4/4(8).

Music is universal. As a successor to the book The Social Psychology of Music, this book aims to provide social psychological answers to the numerous questions concerning music. Given the prominence music plays in our lives, it is still however imperilled by modern culture.

Forewarning an imminent danger to music, it was warned in the previous book that the digital revolution would pave. Psychology of Music publishes peer reviewed papers directed at increasing the scientific understanding of any psychological aspect of music.

These include studies on listening, performing, creating, memorising, analysing, describing, learning, and teaching, as well as applied social, developmental, attitudinal and therapeutic studies.

THE TAO OF MUSIC Traditional self-help books are the pesky cold sore swapped between the lips of legitimate literature and serious psychology. And then there are the books that actually help the self in smart, non-pedantic ways involving no worksheets or mirror nodding. This middle ground is the province of the psychology of music, a subject about which even many physical scientists know little.

This introduction, by the developer of the Seashore test of musical ability, is a thorough survey of this field, the standard book for psychologists specializing in the area, for the school, and for interested s:   The most difficult problem in answering the question of how music creates emotions is likely to be the fact that assignments of musical elements and emotions can never be defined clearly.

The solution of this problem is the Theory of Musical Equilibration. The Psychology of Music, Third Edition, is a comprehensive reference for understanding the perception, cognition, and performance of music/5(5).

The Psychology of Music, Second Edition has been completely revised to bring the reader the most up-to-date information and additional subject matter, and new contributions examine all of these important developments. The book is intended as a comprehensive reference source for musicians, psychologists, and students interested in and studying this exciting psychological discipline.5/5(1).

This interpretation leads to the characterization of music through perceiving, remembering, creating, performing, and responding to music. In particular, the book provides an overview of the perception of musical tones by discussing different sound characteristics, like loudness, pitch and timbre, together with interaction between these attributes.

Psychology of Music book. Read reviews from world’s largest community for readers. Why are some disturbances of air molecules heard as 'noise' while othe 4/5.

The Psychology of Music Performance Anxiety book. Read reviews from world’s largest community for readers. Why are some performers exhilarated and energi /5(19). Music, Thought, and Feeling: Understanding the Psychology of Music is a book written by psychologist William Forde Thompson and published in by Oxford University Press.

The 2nd edition was published in Reviews [ edit ] In July,Victoria Williamson reviewed the book for Psychology of Music (Vol Number 3).Author: William Forde Thompson. When the first edition of The Psychology of Music was published inthis interdisciplinary field was in its book, which drew together the diverse and scattered literature that had accumulated over the previous decade, was written by a group of visionaries from different areas of scholarship – psychologists, neuroscientists, engineers, music theorists and composers – who.

The aim of the psychology of music is to understand musical phoneomena in terms of mental functions--to characterize the ways in which one perceives, remembers, creates, and performs music. Since the First Edition of The Psychology of Music was published the field has emerged from an interdisciplinary curiosity into a fully ramified subdiscipline of psychology due to several factors.

This book presents four extended essays that are rooted in the growing interdisciplinary field of applied musicology, in which music theory – in particular, the zygonic conjecture – is used to inform thinking in the domains of music psychology, music education and music therapy research.

The Psychology of Music draws together the diverse and scattered literature on the psychology of music. It explores the way music is processed by the listener and the performer and considers several issues that are of importance both to perceptual psychology and to contemporary music, such as the way the sound of an instrument is identified regardless of its pitch or loudness, or .This book covers various topics concerning the psychology of music.

The approach taken differs from some previous treatment in being primarily a psychologist's view of music, rather than a musician's view of psychology; though it is the hope that such a treatment is not unsympathetic to the musician's view.

Indeed, the aim is to give a realistic musical account, in which the real-life musician 5/5(1).