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Tables of Contents for The Psychology of Music
Chapter/Section Title
Page #
Page Count
Contributors
xiii
Preface
xv
The Nature of Musical Sound
John R. Pierce
Musical Sound
1
1
From Classical Times
2
1
Vibration and Tone: Mersenne and Galileo
3
1
Time Resolution of the Ear
3
2
Time Resolution and Musical Sounds
5
1
Externalization
6
1
Spectra
7
1
Linearity
7
1
Spectra and Sound
8
2
Resonance and Musical Instruments
10
1
Complexity of Periodic Sounds
11
1
Helmholtz, Plomp, and Dissonance
12
1
Pitch
13
3
Quasi-Musical and Unmusical Sounds
16
1
Descriptions of Musical Sounds
17
8
Acknowledgments
20
1
References
20
5
Concert Halls: From Magic to Number Theory
Manfred R. Schroeder
The Three Problems of Concert Hall Acoustics
25
1
The Physical Problem
26
7
The Subjective Problem
33
11
Multipurpose Halls
44
1
Conclusion
45
2
Appendix
45
1
References
46
1
Music and the Auditory System
Norman M. Weinberger
Introduction
47
1
A Brief Overview of the Auditory Pathway
48
12
Experimental Approaches in the Neurobiology of Music
60
1
The Auditory System and Elements of Music
61
1
Pitch
61
6
Harmony, Consonance
67
1
Contour, Melody
68
7
Rhythm, Temporal Coding
75
5
Future Directions
80
9
Acknowledgments
82
1
References
83
6
The Perception of Musical Tones
Rudolf Rasch
Reinier Plomp
The Psychoacoustics of Music
89
4
Perceptual Attributes of Single Tones
93
9
Perceptual Attributes of Simultaneous Tones
102
6
Conclusion
108
5
References
109
4
Exploration of Timbre by Analysis and Synthesis
Jean-Claude Risset
David L. Wessel
Timbre
113
1
Timbre and the Fourier Spectrum: The Classical View
114
2
The Shortcomings of the Classical Conception
116
1
Attack Transients
117
1
Complexity of Sounds: Importance of Characteristic Features
118
1
Instrumental and Vocal Timbres: Additive Synthesis
118
6
Additive Synthesis: Percussion Instruments
124
2
Cross-Synthesis and Voice Synthesis
126
2
Subtractive Synthesis
128
2
Global (or Nonlinear) Synthesis
130
1
Physical Modeling as a Synthesis Technique
131
3
Sampling
134
1
The Importance of Context: Musical Prosody, Fusion, and Segregation
135
3
Analysis-Synthesis as Fitting Physical and Perceptual Models to Data
138
3
The Use of Analysis-Synthesis Models of Timbre
141
5
Timbral Space
146
3
Conclusion
149
22
Appendices
151
7
References
158
13
The Perception of Singing
Johan Sundberg
Introduction
171
1
Function of the Voice
172
2
Resonatory Aspects
174
14
Phonation
188
6
Aspects of Voice Timbre
194
1
Vibrato
195
8
Pitch in Practice
203
4
Expression
207
2
Concluding Remarks
209
6
References
210
5
Intervals, Scales, and Tuning
Edward M. Burns
Introduction
215
1
Why Are Scales Necessary?
215
4
Musical Interval Perception
219
21
Natural Intervals and Scales
240
17
Conclusions and Caveats
257
8
Acknowledgments
258
1
References
258
7
Absolute Pitch
W. Dixon Ward
Introduction
265
3
Genesis of AP
268
2
Measurement of AP
270
10
Stability of the Interval Standard
280
2
Neurological Correlates of AP
282
1
Learning AP
283
3
Colored Hearing
286
1
Absolute Tonality
286
2
Spontaneous and Elicited Auralization
288
1
The Value of AP
289
10
References
294
5
Grouping Mechanisms in Music
Diana Deutsch
Introduction
299
2
Fusion and Separation of Spectral Components
301
12
Larger Scale Groupings
313
1
Grouping of Rapid Sequences of Single Tones
313
8
Grouping of Multiple Tone Sequences in Space
321
15
Equal-Interval Tone Complexes
336
4
Conclusion: Relationships to Music Theory and Practice
340
9
References
342
7
The Processing of Pitch Combinations
Diana Deutsch
Introduction
349
1
Feature Abstraction
350
9
Higher Order Abstractions
359
17
Paradoxes Based on Pitch Class
376
14
The Pitch Memory System
390
13
Conclusion
403
10
References
404
9
Neural Nets, Temporal Composites, and Tonality
Jamshed J. Bharucha
Neural Representation
413
11
Neural Association and Learning
424
11
Discussion
435
7
Acknowledgments
436
1
Appendices
436
1
References
437
5
Hierarchical Expectation and Musical Style
Eugene Narmour
The Invocation of Extraopus Style
442
1
Empirical and Rationalistic Levels of Style
443
1
Learned Stylistic Levels as ``Theme'' and ``Variation''
444
1
Defining Levels
445
1
Representing Hierarchical Levels
446
2
Problems with Level Displays
448
3
The Parametric Nature of Hierarchical Style Structures
451
5
Style Structures as Composite Cognitive Paths
456
1
Refining Further Hierarchical Displays
457
3
Neuronal Representation: A Speculation
460
4
The Musical Reality of Style-Structural Hierarchies
464
2
Archetypes
466
1
Style Change: Toward Greater Complexity
466
2
Conclusion: The Limits of Style
468
5
References
471
2
Rhythm and Timing in Music
Eric F. Clarke
Introduction
473
1
The Work of Paul Fraisse
473
3
Form Perception
476
2
Rhythm Perception
478
11
Timing in Music
489
5
Rhythm, Timing, and Movement
494
2
Summary
496
1
Acknowledgments
497
4
References
497
4
The Performance of Music
Alf Gabrielsson
Introduction
501
1
Performance Planning
502
7
Sight-Reading
509
4
Improvisation
513
2
Feedback in Performance
515
1
Motor Processes in Performance
516
7
Measurements of Performance
523
27
Models of Music Performance
550
7
Physical Factors in Performance
557
4
Psychological and Social Factors
561
16
Performance Evaluation
577
26
Acknowledgments
579
1
References
579
24
The Development of Music Perception and Cognition
W. Jay Dowling
Introduction
603
1
Development
604
16
Summary
620
1
Acknowledgment
621
1
References
621
6
Musical Ability
Rosamund Shuter-Dyson
Concepts of Musical Ability
627
2
Studies of Musical Abilities
629
14
Music Ability and Other Abilities
643
2
Conclusions
645
8
References
645
8
Neurological Aspects of Music Perception and Performance
Oscar S. M. Marin
David W. Perry
Introduction
653
2
Amusias
655
12
Auditory Agnosias and Verbal Deafness
667
6
Progress in the Classification of Auditory Disorders
673
6
Cerebral Hemisphere Asymmetry in Music Perception and Production
679
20
Progress in the Neuropsychology of Human Music Perception
699
5
Music Perception as a Skill
704
4
Perspectives for the Neuropsychological Study of Music
708
17
Acknowledgments
712
1
References
712
13
Comparative Music Perception and Cognition
Edward C. Carterette
Roger A. Kendall
Introduction and Overview
725
5
Pitch
730
6
Pitch Systems
736
7
Tonality
743
8
Melody
751
7
Rhythm
758
4
Timbre and Spectra
762
3
Creativity, Communication, Meaning, and Affect
765
1
Verbal Attributes and Semantics
766
4
Species Differences: Animal Speech and Music
770
6
Perception of Tonality by the Monkey
776
1
Notes on the Neurophysiology of Music Perception
776
4
Cognitive Musical Universals
780
1
Coda
780
13
References
782
11
Index
793