Music and the Mind: Essays in honour of John Sloboda

Paperback | March 10, 2011

EditorIrene Deliege, Jane Davidson

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In 1986 was published what was to become the seminal text in the then young field of music psychology. The Musical Mind, written by the relatively unknown John Sloboda, made ground breaking inroads in raising crucial questions relating to music's status as a form of human expression. The scopeof the book was impressive: from music perception to production, embracing topics as diverse as music's origin and the circumstances that encourage its skill acquisition. Musical structure, grouping, and perceptual processing, including memory, were key areas where John Sloboda had made earlyempirical investigations. Discussion of emotional responses and creative processes were far more inductively written, based on his own personal experiences. The Musical Mind laid a research agenda in asking those crucial 'how' and 'why' questions that have since occupied a growing body ofresearchers from all over the world in the intervening years.Following a quarter of a century after that seminal work, Music and the Mind celebrates the life and work of John Sloboda whilst taking stock of where the field of music psychology stands 20 years after The Musical Mind first appeared. It reviews key areas of current research in the field, writtenby world-leading authors, each making a significant and original academic contribution. Offering a timely perspective on how the field of music psychology exists today Music and the Mind also reflects on how that work has been significantly stimulated by the influential work of John Sloboda.It will be fascinating reading for students and researchers in music psychology and musicology, as well as music professionals

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In 1986 was published what was to become the seminal text in the then young field of music psychology. The Musical Mind, written by the relatively unknown John Sloboda, made ground breaking inroads in raising crucial questions relating to music's status as a form of human expression. The scopeof the book was impressive: from music perc...

Irene Deliege obtained her qualifications at the Royal Conservatory of Brussels. After a twenty year career as a music teacher, she retrained in psychology and obtained her PhD in 1991 from the University of Liege where she was responsible for the Unit of Research in Psychology of Music. A founding member of ESCOM, she has acted since...

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Format:PaperbackDimensions:450 pages, 9.21 × 6.14 × 0.07 inPublished:March 10, 2011Publisher:Oxford University PressLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:0199581568

ISBN - 13:9780199581566

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Table of Contents

Jane Davidson and Irene Deliege: PreludeJohn Sloboda and his contribution1. Michel Imberty: Music, linguistics and cognition2. Eric Fillenz Clarke: 'What are the important questions?' A reflectionMotivating Musical Lives3. Susan O'Neill: Developing a young musician's growth mindset: the role of motivation, self-theories and resiliency4. Alexandra Lamont: Negotiating Music in the Real World: development, motivation, process and effect5. Jane Davidson: Musical Participation: Expectations, Experiences and OutcomesMusic and Emotion6. Alf Gabrielsson: How do Strong Experiences with Music (SEM) relate to experiences in everyday listening to music?7. Patrik N. Juslin: Music and Emotion: Seven Questions, Seven AnswersSloboda's Recall Paradigm8. Mario Baroni, Rossana Dalmonte and Roberto Caterina: Perception of melody. An empirical approach9. Daniel Muellensiefen and Geraint A. Wiggins: Sloboda's recall paradigm for melodic memory: A new, computational perspectiveMusical Achievement and Expertise10. Frederick A. Seddon: Musical encounters of the temporary kind11. Antonia Ivaldi: Routes to Adolescent Musical Expertise12. Reinhard Kopiez: The musical child prodigy (Wunderkind) in music history: A historiometric analysis13. Adam Ockelford: Evidence from a Savant of how Atonal Music is Processed in Cognition'Examining Musical Performance14. Nicholas J. Cook: Off the record: performance, history, and musical logic15. Andreas Lehmann: Expressive Variants in the Opening Robert Schumann's Arlequin (from Carnaval, op. 9): 54 Pianists' Interpretations of a Metrical Ambiguity16. Geoff Luck: Quantifying the beat-inducing properties of conductors' temporal gestures, and conductor-musician synchronization17. Jane Ginsborg and Roger Chaffin: Performance cues in singing: Evidence from practice and recallMusic and cultural integration18. Arild Bergh: Emotions in motion: Transforming conflict with the help of music19. Richard Parncutt and Angelika Dorfer: The role of music in the integration of cultural minoritiesIrene Deliege: Postlude