大葉大學圖書館 |

The psychology of music[electronic resource] /

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
杜威分類號:	781/.11
書名/作者:	The psychology of music/ edited by Diana Deutsch.
其他作者:	Deutsch, Diana.
出版者:	San Diego : : Academic Press,, c1999.
面頁冊數:	xvi, 807 p. : : ill. ;; 24 cm.
叢書名:	Academic Press series in cognition and perception
標題:	Music - Psychological aspects.
標題:	Auditory Perception.
標題:	Music - psychology.
標題:	Music - Psychology.
標題:	Musique - Aspect psychologique
ISBN:	9780122135644
ISBN:	0122135644
書目註:	Includes bibliographical references and index.
內容註:	J.R. Pierce, The Nature of Musical Sound. -- M.R. Schroede, Concert Halls: From Magic to Number Theory. -- N.M. Weinberger, Music and the Auditory System. -- R. Rasch and R. Plomp, The Perception of Musical Tones. -- J.C. Risset and D.L. Wessel, Exploration of Timbre by Analysis and Synthesis. -- J. Sundberg, The Perception of Singing. -- E.M. Burns, Intervals, Scales, and Tuning. -- W.D. Ward, Absolute Pitch. -- D. Deutsch, Grouping Mechanisms in Music. -- D. Deutsch, Processing of Pitch Combinations. -- J.J. Bharucha, Neural Nets, Temporal Composites and Tonality. -- E. Narmour, Hierarchical Expectation and Musical Style. -- A. Gabrielsson, Music Performance. -- W.J. Dowling, The Development of Music Perception and Cognition. -- R. Shuter-Dyson, Musical Ability. -- O.S.M. Marin and D.W. Perry, Neurological Aspects of Music Perception and Performance. -- E.C. Carterette and R.A. Kendall, Comparative Music Perception and Cognition. -- Subject Index.
摘要、提要註:	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. The opportunity to generate, analyze, and transform 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 on a widespread basis. Second, dramatic advances in the field of neuroscience have profoundly influenced thinking about the way that music is processed in the brain. Third, collaborations between psychologists and musicians, which were evolving at the time the first edition was written, are now quite common; to a large extent now speaking a common language and agreeing on basic philosophical issues. The Psychology of Music, Second Edition has been completely revised to bring the reader the most up-to-date information, additional subject matter, and new contributors to incorporate all of these important variables. The book is intended as a comprehensive reference source for both musicians and psychologists. Key Features * Concert Halls: From Magic to Number Theory * Music and the Auditory System * The Perception of Musical Tones * The Perception of Singing * Intervals, Scales, and Tuning * Absolute Pitch * Grouping Mechanisms in Music * Processing of Pitch Combinations * Neural Nets, Temporal Composites and Tonality * Hierarchical Expectation and Musical Style * Rhythm and Timing in Music * Music Performance * The Development of Music Perception and Cognition * Musical Ability * Neurological Aspects of Music Perception and Performance * Comparative Music Perception and Cognition.
電子資源:	An electronic book accessible through the World Wide Web; click for information
電子資源:	http://www.loc.gov/catdir/description/els033/98085210.html
電子資源:	http://www.loc.gov/catdir/toc/els032/98085210.html

The psychology of music[electronic resource] /
The psychology of music[electronic resource] /edited by Diana Deutsch. - 2nd ed. - San Diego :Academic Press,c1999. - xvi, 807 p. :ill. ;24 cm. - Academic Press series in cognition and perception.

Includes bibliographical references and index.

J.R. Pierce, The Nature of Musical Sound. -- M.R. Schroede, Concert Halls: From Magic to Number Theory. -- N.M. Weinberger, Music and the Auditory System. -- R. Rasch and R. Plomp, The Perception of Musical Tones. -- J.C. Risset and D.L. Wessel, Exploration of Timbre by Analysis and Synthesis. -- J. Sundberg, The Perception of Singing. -- E.M. Burns, Intervals, Scales, and Tuning. -- W.D. Ward, Absolute Pitch. -- D. Deutsch, Grouping Mechanisms in Music. -- D. Deutsch, Processing of Pitch Combinations. -- J.J. Bharucha, Neural Nets, Temporal Composites and Tonality. -- E. Narmour, Hierarchical Expectation and Musical Style. -- A. Gabrielsson, Music Performance. -- W.J. Dowling, The Development of Music Perception and Cognition. -- R. Shuter-Dyson, Musical Ability. -- O.S.M. Marin and D.W. Perry, Neurological Aspects of Music Perception and Performance. -- E.C. Carterette and R.A. Kendall, Comparative Music Perception and Cognition. -- Subject Index.

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. The opportunity to generate, analyze, and transform 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 on a widespread basis. Second, dramatic advances in the field of neuroscience have profoundly influenced thinking about the way that music is processed in the brain. Third, collaborations between psychologists and musicians, which were evolving at the time the first edition was written, are now quite common; to a large extent now speaking a common language and agreeing on basic philosophical issues. The Psychology of Music, Second Edition has been completely revised to bring the reader the most up-to-date information, additional subject matter, and new contributors to incorporate all of these important variables. The book is intended as a comprehensive reference source for both musicians and psychologists. Key Features * Concert Halls: From Magic to Number Theory * Music and the Auditory System * The Perception of Musical Tones * The Perception of Singing * Intervals, Scales, and Tuning * Absolute Pitch * Grouping Mechanisms in Music * Processing of Pitch Combinations * Neural Nets, Temporal Composites and Tonality * Hierarchical Expectation and Musical Style * Rhythm and Timing in Music * Music Performance * The Development of Music Perception and Cognition * Musical Ability * Neurological Aspects of Music Perception and Performance * Comparative Music Perception and Cognition.

Electronic reproduction.
Amsterdam :
Elsevier Science & Technology,
2007.

Mode of access: World Wide Web.

ISBN: 9780122135644

Source: 80231:80231Elsevier Science & Technologyhttp://www.sciencedirect.comSubjects--Topical Terms:

413621
Music
--Psychological aspects.Index Terms--Genre/Form:

336502
Electronic books.

LC Class. No.: ML3830 / .P9 1999eb

Dewey Class. No.: 781/.11

The psychology of music[electronic resource] /
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245 0 4 $a The psychology of music $h [electronic resource] / $c edited by Diana Deutsch.
250 $a 2nd ed.
260 $a San Diego : $b Academic Press, $c c1999.
300 $a xvi, 807 p. : $b ill. ; $c 24 cm.
440 0 $a Academic Press series in cognition and perception
504 $a Includes bibliographical references and index.
505 0 $a J.R. Pierce, The Nature of Musical Sound. -- M.R. Schroede, Concert Halls: From Magic to Number Theory. -- N.M. Weinberger, Music and the Auditory System. -- R. Rasch and R. Plomp, The Perception of Musical Tones. -- J.C. Risset and D.L. Wessel, Exploration of Timbre by Analysis and Synthesis. -- J. Sundberg, The Perception of Singing. -- E.M. Burns, Intervals, Scales, and Tuning. -- W.D. Ward, Absolute Pitch. -- D. Deutsch, Grouping Mechanisms in Music. -- D. Deutsch, Processing of Pitch Combinations. -- J.J. Bharucha, Neural Nets, Temporal Composites and Tonality. -- E. Narmour, Hierarchical Expectation and Musical Style. -- A. Gabrielsson, Music Performance. -- W.J. Dowling, The Development of Music Perception and Cognition. -- R. Shuter-Dyson, Musical Ability. -- O.S.M. Marin and D.W. Perry, Neurological Aspects of Music Perception and Performance. -- E.C. Carterette and R.A. Kendall, Comparative Music Perception and Cognition. -- Subject Index.
505 0 $a The nature of musical sound / John R. Pierce -- Concert halls: from magic to number theory / Manfred R. Schroeder -- Music and the auditory system / Norman M. Weinberger -- The perception of musical tones / Rudolf Rasch and Reinier Plomp -- Exploration of timbre by analysis and synthesis / Jean-Claude Risset and David L. Wessel -- The perception of singing / Johan Sundberg -- Intervals, scales, and tuning / Edward M. Burns -- Absolute pitch / W. Dixon Ward -- Grouping mechanisms in music / Diana Deutsch -- The processing of pitch combinations / Diana Deutsch -- Neural nets, temporal composites, and tonality / Jamshed J. Bharucha -- Hierarchical expectaion and musical style / Eugene Narmour -- Rhythm and timing in music / Eric F. Clarke -- The performance of music / Alf Gabrielsson -- The development of music perception and cognition / W. Jay Dowling -- Musical ability / Rosamund Shuter-Dyson -- Neurological aspects of music perception and performance / Oscar S. M. Marin and David W. Perry -- Comparative music perception and cognition / Edward C. Carterette and Roger A. Kendall.
520 $a 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. The opportunity to generate, analyze, and transform 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 on a widespread basis. Second, dramatic advances in the field of neuroscience have profoundly influenced thinking about the way that music is processed in the brain. Third, collaborations between psychologists and musicians, which were evolving at the time the first edition was written, are now quite common; to a large extent now speaking a common language and agreeing on basic philosophical issues. The Psychology of Music, Second Edition has been completely revised to bring the reader the most up-to-date information, additional subject matter, and new contributors to incorporate all of these important variables. The book is intended as a comprehensive reference source for both musicians and psychologists. Key Features * Concert Halls: From Magic to Number Theory * Music and the Auditory System * The Perception of Musical Tones * The Perception of Singing * Intervals, Scales, and Tuning * Absolute Pitch * Grouping Mechanisms in Music * Processing of Pitch Combinations * Neural Nets, Temporal Composites and Tonality * Hierarchical Expectation and Musical Style * Rhythm and Timing in Music * Music Performance * The Development of Music Perception and Cognition * Musical Ability * Neurological Aspects of Music Perception and Performance * Comparative Music Perception and Cognition.
533 $a Electronic reproduction. $b Amsterdam : $c Elsevier Science & Technology, $d 2007. $n Mode of access: World Wide Web. $n System requirements: Web browser. $n Title from title screen (viewed on Aug. 2, 2007). $n Access may be restricted to users at subscribing institutions.
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