Music psychology - Wikipedia, the free encyclopedia. Music psychology, or the psychology of music, may be regarded as a branch of both psychology and musicology. It aims to explain and understand musicalbehavior and experience, including the processes through which music is perceived, created, responded to, and incorporated into everyday life. Music psychology is a field of research with practical relevance for many areas, including music performance, composition, education, criticism, and therapy, as well as investigations of human aptitude, skill, performance, intelligence, creativity, and social behavior. Music psychology can shed light on non- psychological aspects of musicology and musical practice. For example, it contributes to music theory through investigations of the perception and computational modelling of musical structures such as melody, harmony, tonality, rhythm, meter, and form. Research in music history can benefit from systematic study of the history of musical syntax, or from psychological analyses of composers and compositions in relation to perceptual, affective, and social responses to their music. Doctor Radio Real Doctors, Real People. 110 Browse Channels Top Picks. Lori Evans is Director of Training at the NYU Medical Center Psychology program. A specialist in ADHD and Behavior Disorders. Her work has been featured in hundreds of magazine and newspaper articles, as well as TV shows, radio shows. His latest book is The Psychology of Passion (2015). Northampton's Radio/TV program is a highly creative course of study that allows you to explore your. PSYC 103 Introduction to Psychology; Career Potential: Television/Radio Producer, Audio Producer. ABC Radio National All In The Mind. Program Home; Past Programs; Features. This week All in the Mind explores the workings of our inner voices and how they link to our development and creativity. Radio Station; Registration & Class Schedules. Schools & Colleges; Majors & Minors. The psychology program is offered on the Albert A. Ethnomusicology can benefit from psychological approaches to the study of music cognition in different cultures. History. This view that sound and music could be understood from a purely physical standpoint was echoed by such theorists as Anaxagoras and Boethius. An important early dissenter was Aristoxenus, who foreshadowed modern music psychology in his view that music could only be understood through human perception and its relation to human memory. Despite his views, the majority of musical education through the Middle Ages and Renaissance remained rooted in the Pythagorean tradition, particularly through the quadrivium of astronomy, geometry, arithmetic, and music. From this he argued that simple ratios were not enough to account for musical phenomenon and that a perceptual approach was necessary. He also claimed that the differences between various tuning systems were not perceivable, thus the disputes were unnecessary. Study of topics including vibration, consonance, the harmonic series, and resonance were furthered through the scientific revolution, including work by Galileo, Kepler, Mersenne, and Descartes. This included further speculation concerning the nature of the sense organs and higher- order processes, particularly by Savart, Helmholtz, and Koenig. The first was structuralist psychology, led by Wilhelm Wundt, which sought to break down experience into its smallest definable parts. This expanded upon previous centuries of acoustic study, and included Helmholtz developing the resonator to isolate and understand pure and complex tones and their perception, the philosopher Carl Stumpf using church organs and his own musical experience to explore timbre and absolute pitch, and Wundt himself associating the experience of rhythm with kinesthetic tension and relaxation. Carl Seashore led this work, producing his The Measurement of Musical Talents and The Psychology of Musical Talent. Seashore used bespoke equipment and standardized tests to measure how performance deviated from indicated markings and how musical aptitude differed between students. Modern (1. 96. 0. From the 1. 96. 0s the field grew along with cognitive science, including such research areas as music perception (particularly of pitch, rhythm, harmony, and melody), musical development and aptitude, music performance, and affective responses to music. In recent years several bestselling popular science books have helped bring the field into public discussion, notably Daniel Levitin's This Is Your Brain On Music (2. The World in Six Songs (2. Choose from hundreds of free podcasts about Psychology. Mental Health News Radio empathy psychology mental health behavioral health sex Sexual emotional.Oliver Sacks' Musicophilia (2. Gary Marcus' Guitar Zero (2. In addition, the controversial . Originally arising in fields of psychoacoustics and sensation, cognitive theories of how people understand music more recently encompass neuroscience, cognitive science, music theory, music therapy, computer science, psychology, philosophy, and linguistics. The field draws upon and has significant implications for such areas as philosophy, musicology, and aesthetics, as well the acts of musical composition and performance. The implications for casual listeners are also great; research has shown that the pleasurable feelings associated with emotional music are the result of dopamine release in the striatum. Full list of past and current PBS shows. Find show websites, online video, web extras, schedules and more for your favorite PBS shows. A 47-year-old artist needs to change careers. Plus a procrastinating journalist. On my KALW-FM (NPR-San Francisco) radio program, listeners call in for help with a career problem. Here are two calls from today's program that. Psychology Training Programs. The Westchester Campuses Counseling and Personal Development Center offers an externship and a post-doctoral training program. Pace University is moving forward with. These behaviours include music listening, performing, composing, reading, writing, and ancillary activities. It also is increasingly concerned with the brain basis for musical aesthetics and musical emotion. Scientists working in this field may have training in cognitive neuroscience, neurology, neuroanatomy, psychology, music theory, computer science, and other allied fields, and use such techniques as functional magnetic resonance imaging (f. MRI), transcranial magnetic stimulation (TMS), magnetoencephalography (MEG), electroencephalography (EEG), and positron emission tomography (PET). The cognitive process of performing music requires the interaction of neural mechanisms in both motor and auditory systems. Since every action expressed in a performance produces a sound that influences subsequent expression, this leads to impressive sensorimotor interplay. The perception of a pitch without the corresponding fundamental frequency in the physical stimulus is called the pitch of the missing fundamental. Studies of auditory rhythm discrimination and reproduction in patients with brain injury have linked these functions to the auditory regions of the temporal lobe, but have shown no consistent localization or lateralization. Musicians have been shown to have anatomical adaptations that correlate with their training. More specifically, it is the branch of science studying the psychological and physiological responses associated with sound (including speech and music). Topics of study include perception of the pitch, timbre, loudness and duration of musical sounds and the relevance of such studies for music cognition or the perceived structure of music; and auditory illusions and how humans localize sound, which can have relevance for musical composition and the design of venues for music performance. Psychoacoustics is a branch of psychophysics. Cognitive musicology. Cognitive musicology uses computer modeling to study music- related knowledge representation and has roots in artificial intelligence and cognitive science. The use of computer models provides an exacting, interactive medium in which to formulate and test theories. Biologically inspired models of computation are often included in research, such as neural networks and evolutionary programs. By using a well- structured computer environment, the systematic structures of these cognitive phenomena can be investigated. Charles Darwin speculated that music may have held an adaptive advantage and functioned as a protolanguage. Musical preferences are biased toward culturally familiar musical traditions beginning in infancy, and adults' classification of the emotion of a musical piece depends on both culturally specific and universal structural features. Each topic may utilize knowledge and techniques derived from one or more of the areas described above. Such areas include: Music in society. In general, the plasticity traits (openness to experience and extraversion) affect music preference more than the stability traits (agreeableness, neuroticism, and conscientiousness). Used extensively as an advertising aid, music may also affect marketing strategies, ad comprehension, and consumer choices. Background music can influence learning. The timbre, tempo, lyrics, genre, mood, as well as any positive or negative associations elicited by certain music should fit the nature of the advertisement and product. Study in this area focuses on whether aptitude can be broken into subsets or represented as a single construct, whether aptitude can be measured prior to significant achievement, whether high aptitude can predict achievement, to what extent aptitude is inherited, and what implications questions of aptitude have on educational principles. While early tests of aptitude, such as Seashore's The Measurement of Musical Talent, sought to measure innate musical talent through discrimination tests of pitch, interval, rhythm, consonance, memory, etc., later research found these approaches to have little predictive power and to be influenced greatly by the test- taker's mood, motivation, confidence, fatigue, and boredom when taking the test. The latter include for example: Societies. Psychology of Music: From Sound to Significance. New York: Psychology Press. ISBN 9. 78- 1- 8. Music, Thought, and Feeling: Understanding the Psychology of Music, 2nd Edition. New York: Oxford University Press. Grove Music Online, Oxford Music Online. Oxford University Press. Retrieved 9 April 2. Grove Music Online, Oxford Music Online. Oxford University Press. Retrieved 9 April 2. Grove Music Online, Oxford Music Online. Oxford University Press. Retrieved 9 April 2. In Hallam, Susan; Cross, Ian; Thaut, Michael. The Oxford Handbook of Music Psychology. Oxford: Oxford University Press. ISBN 9. 78- 0- 1. In Hallam, Susan; Cross, Ian; Thaut, Michael. The Oxford Handbook of Music Psychology. Oxford: Oxford University Press. ISBN 9. 78- 0- 1. In Hallam, Susan; Cross, Ian; Thaut, Michael. The Oxford Handbook of Music Psychology. Oxford: Oxford University Press. ISBN 9. 78- 0- 1. In Juslin, Patrik; Sloboda, John. Handbook of Music and Emotion: Theory, Research, Applications (ch. Oxford: Oxford University Press. The Psychology of Music, 3rd Edition. San Diego, California: Academic Press. Encyclopedia of Music in the Social and Behavioral Sciences. New York, New York: Sage Press. Grove Music Online, Oxford Music Online. Oxford University Press. Retrieved 1. 6 April 2. Psychological Bulletin. American Journal of Human Genetics. In Hallam, Susan; Cross, Ian; Thaut, Michael. The Oxford Handbook of Music Psychology. Oxford: Oxford University Press. ISBN 9. 78- 0- 1.
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