Psychology of Music - Recommended Reading Suzanne Hanser

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MTH-311: Psychology of Music - Recommended Reading Suzanne Hanser The Acoustical Foundations of Music Music and Emotion: Theory and John Backus Research ML3805.B335 A3 Patrik N. Juslin and John A. Sloboda ML3830 .M873 2001 Art, Mind, and Brain: A Cognitive Approach to Creativity Music, Language, and the Brain Howard Gardner Aniruddh D. Patel BF411 .G37 1982 ML3830.P38 2010 Cognitive Foundations of Musical Pitch Music, the Brain, and Ecstasy: How Carol L. Krumhansl Music Captures Our Imagination ML3830 .K78 1990 Robert Jourdain Reserve ML3830 .J68 1998 The Cognitive Neuroscience of Music Isabelle Peretz and Robert J. Zatorre Music, Thought, and Feeling: ML3838 .C64 2003 Understanding the Psychology of Music William Forde Thompson The Developmental Psychology of Music ML3830.T46 2009 David J. Hargreaves ML3830 .H28 1986 The Musical Mind: The Cognitive Psychology of Music A Generative Theory of Tonal Music John A. Sloboda Fred Lerdahl and Ray S. Jackendoff ML3830 .S56 1994 MT6.L473 G4 1983 Musicophilia: Tales of Music and the Handbook of Music Psychology by Brain Donald A. Hodges Oliver W. Sacks ML3830 .H3 1996 ML3830 .S13 2007 Introduction to the Physics and An Objective Psychology of Music Psychophysics of Music Robert W. Lundin Juan G. Roederer ML3830 .L86 1967 ML3805 .R643 Philosophical Perspectives On Music The Man Who Mistook His Wife for a Wayne D. Bowman Hat and Other Clinical Tales ML3800 .B69 1998 Oliver W. Sacks RC351.S23 M3 1998 Psychological Foundations of Musical Behavior The Mind's Ear: Exercises for Improving Rudolf E. Radocy and J. David. Boyle the Musical Imagination for Performers, ML3830 .R33 1997 Listeners, and Composers Bruce Adolphe The Psychology of Music MT35 .A365 1991 Diana Deutsch Reserve ML3830 .P79 1999 Psychology of Music This is Your Brain on Music: The Carl E. Seashore Science of a Human Obsession ML3830.S43 P8 1967 Daniel J. Levitin ML3830 .L38 2006 Science & Music Sir James Hopwood Jeans The World in Six Songs: How the ML3805.J436 S3 1968 Musical Brain Created Human Nature Daniel J. Levitin ML3838 .L48 2008 .

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Recent Publications in Music 2010
Fontes Artis Musicae, Vol. 57/4 (2010) RECENT PUBLICATIONS IN MUSIC R1 RECENT PUBLICATIONS IN MUSIC 2010 Compiled and edited by Geraldine E. Ostrove On behalf of the Pour le compte de Im Auftrag der International l'Association Internationale Internationalen Vereinigung Association of Music des Bibliothèques, Archives der Musikbibliotheken, Libraries Archives and et Centres de Musikarchive und Documentation Centres Documentation Musicaux Musikdokumentationszentren This list contains citations to literature about music in print and other media, emphasizing reference materials and works of research interest that appeared in 2009. It includes titles of new journals, but no journal articles or excerpts from compilations. Reporters who contribute regularly provide citations mainly or only from the year preceding the year this list is published in Fontes Artis Musicae. However, reporters may also submit retrospective lists cumulating publications from up to the previous five years. In the hope that geographic coverage of this list can be expanded, the compiler welcomes inquiries from bibliographers in countries not presently represented. CONTRIBUTORS Austria: Thomas Leibnitz New Zealand: Marilyn Portman Belgium: Johan Eeckeloo Nigeria: Santie De Jongh China, Hong Kong, Taiwan: Katie Lai Russia: Lyudmila Dedyukina Estonia: Katre Rissalu Senegal: Santie De Jongh Finland: Tuomas Tyyri South Africa: Santie De Jongh Germany: Susanne Hein Spain: José Ignacio Cano, Maria José Greece: Alexandros Charkiolakis González Ribot Hungary: Szepesi Zsuzsanna Tanzania: Santie De Jongh Iceland: Bryndis Vilbergsdóttir Turkey: Paul Alister Whitehead, Senem Ireland: Roy Stanley Acar Italy: Federica Biancheri United Kingdom: Rupert Ridgewell Japan: Sekine Toshiko United States: Karen Little, Liza Vick. The Netherlands: Joost van Gemert With thanks for assistance with translations and transcriptions to Kersti Blumenthal, Irina Kirchik, Everett Larsen and Thompson A.
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The Link Between Drugs and Music Explained by Science 25 January 2018, by Ian Hamilton, Harry Sumnall and Suzi Gage
The link between drugs and music explained by science 25 January 2018, by Ian Hamilton, Harry Sumnall And Suzi Gage two key compounds in cannabis, tetrahydrocannabinol and cannabidiols, influence the desire for music and its pleasure. Cannabis users reported that they experienced greater pleasure from music when they used cannabis containing cannabidiols than when these compounds were absent. Listening to music – without the influence of drugs – is rewarding, can reduce stress (depending upon the type of music listened to) and improve feelings of belonging to a social group. But research Credit: Henny van Roomen/Shutterstock.com suggests that some drugs change the experience of listening to music. Clinical studies that have administered LSD to For centuries, musicians have used drugs to human volunteers have found that the drug enhance creativity and listeners have used drugs enhances music-evoked emotion, with volunteers to heighten the pleasure created by music. And the more likely to report feelings of wonder, two riff off each other, endlessly. The relationship transcendence, power and tenderness. Brain between drugs and music is also reflected in lyrics imaging studies also suggest that taking LSD while and in the way these lyrics were composed by listening to music, affects a part of the brain leading musicians, some of whom were undoubtedly to an increase in musically inspired complex visual influenced by the copious amounts of heroin, imagery. cocaine and "reefer" they consumed, as their songs sometimes reveal. Pairing music and drugs Acid rock would never have happened without Certain styles of music match the effects of certain LSD, and house music, with its repetitive 4/4 beats, drugs.
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About Emotions There Are 8 Primary Emotions. You Are Born with These
About Emotions There are 8 primary emotions. You are born with these emotions wired into your brain. That wiring causes your body to react in certain ways and for you to have certain urges when the emotion arises. Here is a list of primary emotions: Eight Primary Emotions Anger: fury, outrage, wrath, irritability, hostility, resentment and violence. Sadness: grief, sorrow, gloom, melancholy, despair, loneliness, and depression. Fear: anxiety, apprehension, nervousness, dread, fright, and panic. Joy: enjoyment, happiness, relief, bliss, delight, pride, thrill, and ecstasy. Interest: acceptance, friendliness, trust, kindness, affection, love, and devotion. Surprise: shock, astonishment, amazement, astound, and wonder. Disgust: contempt, disdain, scorn, aversion, distaste, and revulsion. Shame: guilt, embarrassment, chagrin, remorse, regret, and contrition. All other emotions are made up by combining these basic 8 emotions. Sometimes we have secondary emotions, an emotional reaction to an emotion. We learn these. Some examples of these are: o Feeling shame when you get angry. o Feeling angry when you have a shame response (e.g., hurt feelings). o Feeling fear when you get angry (maybe you’ve been punished for anger). There are many more. These are NOT wired into our bodies and brains, but are learned from our families, our culture, and others. When you have a secondary emotion, the key is to figure out what the primary emotion, the feeling at the root of your reaction is, so that you can take an action that is most helpful. .
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MDMA and Sexual Behavior
Note: This is a pre-copy-editing, author-produced PDF of an article accepted for publication in Substance Use & Misuse following peer review. The definitive publisher-authenticated version [McElrath K (2005) MDMA and sexual behavior: ecstasy users’ perceptions about sexuality and sexual risk, Substance Use & Misuse, 40:9, 1461-1477] is available online at http://www.informaworld.com/smpp/title~db=all~content=g714012467 MDMA and Sexual Behavior: Ecstasy Users’ Perceptions About Sexuality and Sexual Risk KAREN MCELRATH School of Sociology and Social Policy, Belfast, Ireland Published in Substance Use & Misuse,(2005) 40:9,1461—1477 This study examines the relationship between MDMA (Ecstasy), sexual behavior, and sexual risk taking. The sample consisted of 98 current and former users of MDMA. Several strategies were utilized to recruit respondents and data were collected through in-depth interviews during 1997 and 1998. The majority of respondents had used MDMA during the 6-month period prior to the interview and a large percentage had consumed the drug on 100 occasions or more. Most respondents reported feelings of emotional closeness while consuming MDMA but without the desire for penetrative sex. Others, however, reported that MDMA increased sexual arousal and some respondents (in particular gay and bisexual females) had used MDMA specifically for sexual enhancement. Sexual risk taking (e.g., having multiple partners, engaging in sex without a condom) was prevalent among respondents who did engage in sexual activity during MDMA episodes. Explanations for the findings are offered and implications for prevention/intervention are discussed. Keywords MDMA; ecstasy; sexual behavior Introduction Although a patent for 3,4-methylenedioxymethamphetamine (MDMA) was issued in 1914 (Shulgin, 1986), “recreational”a use of the drug did not surface until the 1970s and 1980s, and for the most part was restricted to selected regions in the U.S.
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Absolute Pitch (AP)
Absolute Pitch (AP) • A.k.a. ‘perfect pitch’ • The ability to name or produce a tone without a reference tone • Very rare: 1 in 10,000 Vs. Relative pitch (RP) • Most people use relative pitch: • Recognizing tones relative to other tones • Remember and produce intervals abstracted from specific pitch, or given a reference pitch AP: how it works • Thought to be a labeling process: – AP possessors associate names/ meaning with pitches or pitch classes – Retain this association over time • AP is not ‘perfect’; i.e., auditory perception/ pitch discrimination not more accurate than RP Imaging evidence • When making judgments using AP: • possessors compared to non- possessors show more activation in frontal naming/labeling areas • Anatomically, AP possessors show greater planum temporale asymmetry – Apparently due to reduced RH PT size AP ‘flavors’ • AP not purely ‘have’ or ‘have-not; ability level varies along continuum • Some possessors make more accurate judgments with certain instruments – e.g. piano vs. pure sine wave tones – Sometimes called ‘absolute piano’ AP ‘flavors’ cont’d • Other possessors may perform more accurately with white-key notes than black-key notes – E.g. C,D,E vs. C#, D# • May be due to early learning influence – Early musical training on keyboard usually starts with white-key notes only • So, is AP learned? Learnable? Nature vs. Nurture, of course • The debate continues: – Some researchers ascribe genetic origins to AP, suspecting that early musical training is neither sufficient nor necessary – Others find most possessors
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Eotm the Agony and the Ecstasy
EYE ON THE MARKET SPECIAL EDITION THE & agTHE ny ecst sy THE RISKS AND REWARDS OF A CONCENTRATED StOCK POSITION The Agony and the Ecstasy is a 1961 biographical novel by American author Irving Stone on the life of Michelangelo: his passion, intensity and perseverance as he created some of the greatest works of the Renaissance period. Like Michelangelo’s paintings and sculptures, successful businesses are the by-product of inspiration, hard work, and no small amount of genius. And like the works of the Great Masters, only a small minority stand the test of time and last over the long run. The Agony and the Ecstasy conveys the disparate outcomes facing concentrated holders of individual stocks in a world, like Michelangelo’s, that is beset with intrigue, unforeseen risks, intense competition and uncertainty. EYE ON THE MARKET • J.P. MORGAN Eye on the Market J.P. MORGAN The Agony and the Ecstasy: The Risks and Rewards of a Concentrated Stock Position Executive Summary There are many Horatio Alger stories in the corporate world in which an entrepreneur or CEO has the right idea at the right time and executes brilliantly on a business plan. But history also shows that forces both within and outside management control led many of their businesses to suffer serious reversals of fortune. As a result, many individuals are known not just for the wealth they created through a concentrated position, but also for the decision they made to sell, hedge or otherwise take some chips off the table. In this paper, we take a look at the long history of individual stocks, and at the risks and rewards of concentration.
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Earworms ("Stuck Song Syndrome"): Towards a Natural History of Intrusive Thoughts
Earworms ("stuck song syndrome"): towards a natural history of intrusive thoughts Article Accepted Version Beaman, C. P. and Williams, T. I. (2010) Earworms ("stuck song syndrome"): towards a natural history of intrusive thoughts. British Journal of Psychology, 101 (4). pp. 637-653. ISSN 0007-1269 doi: https://doi.org/10.1348/000712609X479636 Available at http://centaur.reading.ac.uk/5755/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . To link to this article DOI: http://dx.doi.org/10.1348/000712609X479636 Publisher: British Psychological Society All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Research Impact Manager Research & Enterprise Dr Anthony Atkin +44 (0)118 787411 Whiteknights House [email protected] Whiteknights Reading RG6 6AH phone +44 (0)118 8628 fax +44 (0)118 378 8979 email [email protected] 24 June 2014 - Earworms ("stuck song syndrome"): towards a natural history of intrusive thoughts. British Journal of Psychology, Beaman, C. P. and Williams, T. I. (2010) 101 (4). pp. 637-653. Dear Downloader, Thank you for downloading this publication from our repository. The University of Reading is committed to increasing the visibility of our research and to demonstrating the value that it has on individuals, communities, organisations and institutions.
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Classical Net Review
The Internet's Premier Classical Music Source BOOK REVIEW The Psychology of Music Diana Deutsch, editor Academic Press, Third Edition, 2013, pp xvii + 765 ISBN-10: 012381460X ISBN-13: 978-0123814609 The psychology of music was first explored in detail in modern times in a book of that name by Carl E. Seashore… Psychology Of Music was published in 1919. Dover's paperback edition of almost 450 pages (ISBN- 10: 0486218511; ISBN-13: 978-0486218519) is still in print from half a century later (1967) and remains a good starting point for those wishing to understand the relationship between our minds and music, chiefly as a series of physical processes. From the last quarter of the twentieth century onwards much research and many theories have changed the models we have of the mind when listening to or playing music. Changes in music itself, of course, have dictated that the nature of human interaction with it has grown. Unsurprisingly, books covering the subject have proliferated too. These range from examinations of how memory affects our experience of music through various forms of mental disabilities, therapies and deviations from "standard" auditory reception, to attempts to explain music appreciation psychologically. Donald Hodges' and David Conrad Sebald's Music in the Human Experience: An Introduction to Music Psychology (ISBN-10: 0415881862; ISBN-13: 978- 0415881869) makes a good introduction to the subject; while Aniruddh Patel's Music, Language, and the Brain (ISBN-10: 0199755302; ISBN-13: 978-0199755301) is a good (and now classic/reference) overview. Oliver Sacks' Musicophilia: Tales of Music and the Brain (ISBN-10: 1400033535; ISBN-13: 978-1400033539) examines specific areas from a clinical perspective.
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Convergent Evolution in a Large Cross-Cultural Database of Musical Scales
Convergent evolution in a large cross-cultural database of musical scales John M. McBride1,* and Tsvi Tlusty1,2,* 1Center for Soft and Living Matter, Institute for Basic Science, Ulsan 44919, South Korea 2Departments of Physics and Chemistry, Ulsan National Institute of Science and Technology, Ulsan 44919, South Korea *[email protected], [email protected] August 3, 2021 Abstract We begin by clarifying some key terms and ideas. We first define a scale as a sequence of notes (Figure 1A). Scales, sets of discrete pitches used to generate Notes are pitch categories described by a single pitch, melodies, are thought to be one of the most uni- although in practice pitch is variable so a better descrip- versal features of music. Despite this, we know tion is that notes are regions of semi-stable pitch centered relatively little about how cross-cultural diversity, around a representative (e.g., mean, meadian) frequency or how scales have evolved. We remedy this, in [10]. Thus, a scale can also be thought of as a sequence of part, we assemble a cross-cultural database of em- mean frequencies of pitch categories. However, humans pirical scale data, collected over the past century process relative frequency much better than absolute fre- by various ethnomusicologists. We provide sta- quency, such that a scale is better described by the fre- tistical analyses to highlight that certain intervals quency of notes relative to some standard; this is typically (e.g., the octave) are used frequently across cul- taken to be the first note of the scale, which is called the tures.
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Memory and Production of Standard Frequencies in College-Level Musicians Sarah E
University of Massachusetts Amherst ScholarWorks@UMass Amherst Masters Theses 1911 - February 2014 2013 Memory and Production of Standard Frequencies in College-Level Musicians Sarah E. Weber University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/theses Part of the Cognition and Perception Commons, Fine Arts Commons, Music Education Commons, and the Music Theory Commons Weber, Sarah E., "Memory and Production of Standard Frequencies in College-Level Musicians" (2013). Masters Theses 1911 - February 2014. 1162. Retrieved from https://scholarworks.umass.edu/theses/1162 This thesis is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Masters Theses 1911 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Memory and Production of Standard Frequencies in College-Level Musicians A Thesis Presented by SARAH WEBER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of MASTER OF MUSIC September 2013 Music Theory © Copyright by Sarah E. Weber 2013 All Rights Reserved Memory and Production of Standard Frequencies in College-Level Musicians A Thesis Presented by SARAH WEBER _____________________________ Gary S. Karpinski, Chair _____________________________ Andrew Cohen, Member _____________________________ Brent Auerbach, Member _____________________________ Jeff Cox, Department Head Department of Music and Dance DEDICATION For my parents and Grandma. ACKNOWLEDGEMENTS I would like to thank Kristen Wallentinsen for her help with experimental logistics, Renée Morgan for giving me her speakers, and Nathaniel Liberty for his unwavering support, problem-solving skills, and voice-over help.
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Effects of Emergent-Level Structure on Melodic Processing Difficulty
96 Frank A. Russo, William Forde Thompson, & Lola L. Cuddy EFFECTS OF EMERGENT-LEVEL STRUCTURE ON MELODIC PROCESSING DIFFICULTY FRANK A. RUSSO words, does ease of processing depend in some manner Ryerson University, Toronto, Canada on emergent-level structure defined by theory? The current study investigates whether melodic processing WILLIAM FORDE THOMPSON difficulty varies with respect to music-theoretic descrip- Macquarie University, Sydney, Australia tions of emergent-level structure derived from the Implication-Realization (I-R) model (Narmour, 1990, LOLA L. CUDDY 1992). Queen’s University, Kingston, Canada Two leading cognitive approaches to understanding melodic complexity include information-theoretic and FOUR EXPERIMENTS ASSESSED THE INFLUENCE dynamic attending models. Information-theoretic mod- of emergent-level structure on melodic processing dif- els have focused on the development of coding systems ficulty. Emergent-level structure was manipulated (Cuddy, Cohen, & Mewhort, 1981; Deutsch, 1980; Leeu- across experiments and defined with reference to the wenberg, 1969; Restle, 1970; Simon, 1972). A hierarchi- Implication-Realization model of melodic expectancy cal melody with surface- and emergent-level structure (Narmour, 1990, 1992, 2000). Two measures of melodic can be described economically using nested codes that processing difficulty were used to assess the influence of exploit redundancies. The codes are assumed to capture emergent-level structure: serial-reconstruction and important aspects of mental representation, and
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Cognition, Constraints and Conceptual Blends in Modernist Music the Pleasure of Modernism: Intention, Meaning, and the Compositional Avant-Garde, Ed
“Tone-color, movement, changing harmonic planes”: Cognition, Constraints and Conceptual Blends in Modernist Music The Pleasure of Modernism: Intention, Meaning, and the Compositional Avant-Garde, ed. Arved Ashby (Rochester: University of Rochester Press, 2004), 121–152. Amy Bauer I. Ligeti and the “Listenability” of Modernist Music György Ligeti has discussed his "micropolyphonic" music of the mid-1960s at some length, in an attempt to explain why its composed structure seems to bear no relation to its actual sound. Although works such as Lontano are based on strict canons, their compositional method assumes a listener will 'mishear' its structure: [In the large orchestral work Lontano] I composed . an extensively branching and yet strictly refined polyphony which, however, veers suddenly into something else. I don’t have a name for it and I don’t want to create a term for it. A kind of complex of tone-color, movement, changing harmonic planes. The polyphonic structure does not actually come through, you cannot hear it; it remains hidden in a microscopic underwater world, to us inaudible. I have retained melodic lines in the process of composition, they are governed by rules as strict as Palestrina's or those of the Flemish school, but the rules of polyphony are worked out by me. the polyphony is dissolved, like the harmony and the tone-color – to such an extent that it does not manifest itself, and yet it is there, just beneath the threshold.1 In the above passages, Ligeti appears to ally himself with modernists such as Boulez and Babbit, composers who use twelve-tone and other methods to systematically organize pitch structure.
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