Log in

Relevant bibliographies by topics / Music psychology / Journal articles

To see the other types of publications on this topic, follow the link: Music psychology.

Journal articles on the topic 'Music psychology'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 March 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 journal articles for your research on the topic 'Music psychology.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.

1

Dudhale, Khaleda. "MUSIC AND MUSIC AND PSYCHOLOGY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3438.

Full text

Abstract:

Music is a branch of psychology and musicology that aims to understand and explain musical behavior and musical experiences. At the same time, understanding how music is composed and how it reacts and how individuals adopt it in daily life.The psychology of morden music analyzes man's involvement with systemic observation. Its many areas are research and experimentation with execution (chamatvitundam) composition, education, criticism, medicine, etc. Music psychology helps in understanding social behavior by human intelligence, skill and functionality. संगीत मनोविज्ञान एवं संगीत शास्त्र की एक शाखा है जिसका लक्ष्य है संगीत व्यवहार और संगीत के अनुभवों को समझना और समझाना। साथ ही साथ यही समझना कि संगीत कैसे रचा जाता है और उसकी प्रतिक्रिया कैसी होती है और व्यक्ति उसे दैनिक जीवन में कैसे अपनाते है?माॅर्डन संगीत का मनोविज्ञान सिस्टेमेटिक अवलोकन से मनुष्य की भागीदारी का विश्लेषण करता है। इसके अनेक क्षेत्र हैं शोध व प्रयोग के साथ निष्पादन (चमतवितउंदबम) कम्पोजिशन, शिक्षा, आलोचना, चिकित्सा आदि। संगीत मनोविज्ञान मानव की बुद्धि, कौशल व क्रियात्मकता से सामाजिक व्यवहार को समझने में मदद करती है।

APA, Harvard, Vancouver, ISO, and other styles

2

Brindley, Erica. "Music, Cosmos, and the Development of Psychology in Early China." T'oung Pao 92, no. 1 (2006): 1–49. http://dx.doi.org/10.1163/156853206778553180.

Full text

Abstract:

AbstractMusic plays an important role in the development of discourses on the body, and, in particular, on psychology. From the received and excavated textual record dating to the 4th and 3rd centuries B.C. we gain insights into the emergence of an elaborate logos of the psyche, or "psychology," as such a psychology relates to the cosmos. The article explores two orientations on the role of music in psychology. The first and earlier orientation outlines what the author terms a "psychology of influence," which provides a rationale for the beneficial effects of good music in self-cultivation and social order. The second and later orientation outlines what the author calls a "psychology of cosmic attunement," which identifies music with the harmony of the cosmos and speaks of sages who attune themselves to it. Through a close examination of these two perspectives on music, the article delineates how a triangular relationship among music, cosmos, and psyche develops in early China, essentially forming a new paradigm within which human relationship to music and cosmic order is understood. La musique joue un rôle important dans le développement des discours sur le corps, en particulier sur la psychologie. Grâce aux textes reçus ou exhumés datant des 3e et 4e siècles avant notre ère, il est possible d'obtenir des aperçus sur l'émergence d'un logos élaboré sur la psyché, soit une "psychologie", dans la mesure où cette psychologie est en relation avec le cosmos. L'article explore deux orientations dans le rôle de la musique en psychologie. La première, plus ancienne, décrit ce que l'auteur appelle une "psychologie de l'influence", qui fournit une explication aux effets bénéfiques de la "bonne" musique sur la culture de soi et sur l'ordre social. La seconde orientation, plus récente, décrit ce que l'auteur appelle une "psychologie de l'harmonisation cosmique", qui identifie la musique avec l'harmonie du cosmos et évoque les sages qui s'accordent sur elle. En examinant de près ces deux perspectives sur la musique, l'article suggère la façon dont une relation triangulaire entre la musique, le cosmos et la psyché s'est développée dans la Chine ancienne, formant essentiellement un nouveau paradigme à l'intérieur duquel comprendre la relation de l'homme à la musique et à l'ordre cosmique.

APA, Harvard, Vancouver, ISO, and other styles

3

Hallam, Sue. "Psychology of Music." Research Studies in Music Education 19, no. 1 (December 2002): 77. http://dx.doi.org/10.1177/1321103x020190010802.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Cross, Ian. "Music and communication in music psychology." Psychology of Music 42, no. 6 (November 2014): 809–19. http://dx.doi.org/10.1177/0305735614543968.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Frieler, Klaus, Daniel Müllensiefen, Timo Fischinger, Kathrin Schlemmer, Kelly Jakubowski, and Kai Lothwesen. "Replication in music psychology." Musicae Scientiae 17, no. 3 (September 2013): 265–76. http://dx.doi.org/10.1177/1029864913495404.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Chin, G. J. "PSYCHOLOGY: Unintentional Music Sharing." Science 311, no. 5763 (February 17, 2006): 919a. http://dx.doi.org/10.1126/science.311.5763.919a.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Colwell, Richard. "Music Teaching: Cognitive Psychology." Clearing House: A Journal of Educational Strategies, Issues and Ideas 65, no. 4 (April 1992): 196–98. http://dx.doi.org/10.1080/00098655.1992.10114199.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Krumhansl, Carol L. "Music Psychology and Music Theory: Problems and Prospects." Music Theory Spectrum 17, no. 1 (April 1995): 53–80. http://dx.doi.org/10.2307/745764.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Krumhansl, Carol L. "Music Psychology and Music Theory: Problems and Prospects." Music Theory Spectrum 17, no. 1 (April 1995): 53–80. http://dx.doi.org/10.1525/mts.1995.17.1.02a00030.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Hodges, Donald A. "Music Psychology and Music Education: What's the connection?" Research Studies in Music Education 21, no. 1 (December 2003): 31–44. http://dx.doi.org/10.1177/1321103x030210010301.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Carlson, Emily, and Ian Cross. "Reopening the Conversation Between Music Psychology and Music Therapy." Music Perception 39, no. 2 (December 1, 2021): 181–201. http://dx.doi.org/10.1525/mp.2021.39.2.181.

Full text

Abstract:

Although the fields of music psychology and music therapy share many common interests, research collaboration between the two fields is still somewhat rare. Previous work has identified that disciplinary identities and attitudes towards those in other disciplines are challenges to effective interdisciplinary research. The current study explores such attitudes in music therapy and music psychology. A sample of 123 music therapists and music psychologists answered an online survey regarding their attitudes towards potential interdisciplinary work between the two fields. Analysis of results suggested that participants’ judgements of the attitudes of members of the other discipline were not always accurate. Music therapists indicated a high degree of interest in interdisciplinary research, although in free text answers, both music psychologists and music therapists frequently characterized music therapists as disinterested in science. Music therapists reported seeing significantly greater relevance of music psychology to their own work than did music psychologists of music therapists. Participants’ attitudes were modestly related to their reported personality traits and held values. Results overall indicated interest in, and positive expectations of, interdisciplinary attitudes in both groups, and should be explored in future research.

APA, Harvard, Vancouver, ISO, and other styles

12

Anglada-Tort, Manuel, and Katie Rose M. Sanfilippo. "Visualizing Music Psychology: A Bibliometric Analysis of Psychology of Music, Music Perception, and Musicae Scientiae from 1973 to 2017." Music & Science 2 (January 1, 2019): 205920431881178. http://dx.doi.org/10.1177/2059204318811786.

Full text

Abstract:

Music psychology has grown drastically since being established in the middle of the 19th century. However, until now, no large-scale computational bibliometric analysis of the scientific literature in music psychology has been carried out. This study aims to analyze all published literature from the journals Psychology of Music, Music Perception, and Musicae Scientiae. The retrieved literature comprised a total of 2,089 peer-reviewed articles, 2,632 authors, and 49 countries. Visualization and bibliometric techniques were used to investigate the growth of publications, citation analysis, author and country productivity, collaborations, and research trends. From 1973 to 2017, with a total growth rate of 11%, there is a clear increase in music psychology research (i.e., number of publications, authors, and collaborations), consistent with the general growth observed in science. The retrieved documents received a total of 33,771 citations ( M = 16.17, SD = 26.93), with a median (Q1—Q3) of 7 (2—20). Different bibliometric indicators defined the most relevant authors, countries, and keywords as well as how they relate and collaborate with each other. Differences between the three journals are also discussed. This type of analysis, not without its limitations, can help understand music psychology and identify future directions within the field.

APA, Harvard, Vancouver, ISO, and other styles

13

Yoo, Hyesoo, Sangmi Kang, and Victor Fung. "Personality and world music preference of undergraduate non-music majors in South Korea and the United States." Psychology of Music 46, no. 5 (July 14, 2017): 611–25. http://dx.doi.org/10.1177/0305735617716757.

Full text

Abstract:

We investigated contributors of undergraduate nonmusic majors’ preferences for world musics, specifically those from Africa, Asia, and Latin America. Drawing upon the reciprocal feedback model as a theoretical framework, we determined the extent to which predictor variables (familiarity with the music, personality, and music absorption) were related to music preference. Participants were 401 undergraduate nonmusic majors from South Korea ( n = 208) and the USA ( n = 183). Participants took an online survey via Qualtrics that included demographic information, the World Musics Preference Rating Scale, the Big-Five Inventory, and the Absorption in Music Scale. Results indicated that, familiarity, followed by openness to experience, was the strongest predictor of participants’ preferences for world musics. For the U.S. participants, familiarity, followed by openness to experience, was the strongest predictor of participants’ preference for musics from each continent. By contrast, for the South Korean participants, although familiarity was also the strongest predictor for African, Latin American, and Asian musics, openness to experience was not consistently the second strongest contributor. For African music, openness to experience was ranked second; for Latin American and Asian music, agreeableness and music absorption were ranked second, respectively.

APA, Harvard, Vancouver, ISO, and other styles

14

ȘUTEU, Ligia-Claudia. "The psychology of music creation." BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV SERIES VIII - PERFORMING ARTS 13 (62), SI (January 20, 2021): 305–12. http://dx.doi.org/10.31926/but.pa.2020.13.62.3.33.

Full text

Abstract:

This study aims to conduct a study on the origins of music creation and its metamorphosis. A parallel is drawn between improvisation and composition, making analogies with other fields such as rhetoric and literature. The two terms incorporate a series of processes, mental structures and a thorough preparation, clear examples found in previous eras, improvisation having a leading place in Baroque and Classicism. The article aims at psychological models encountered in improvisation and composition, creativity being investigated in this context. Improvisation and composition present a series of similarities and differences, being argued by presenting the main theories, which are based on a psychological profile of the individual, carefully studied over the decades. The metaphysics of music and the physical and mental processes that the composer or improviser goes through, have often been associated with other fields of research, such as language, theater, poetry, rhetoric and much more. Their study and presentation have as role the artistic development of the complete musician, whether it is a soloist, composer or improviser.

APA, Harvard, Vancouver, ISO, and other styles

15

Swanwick, Keith, and David J. Hargreaves. "The Developmental Psychology of Music." British Journal of Educational Studies 35, no. 3 (October 1987): 289. http://dx.doi.org/10.2307/3121264.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

Swanwick, Keith, and David J. Hargreaves. "The Developmental Psychology of Music." European Journal of Education 22, no. 3/4 (1987): 359. http://dx.doi.org/10.2307/1502908.

Full text

APA, Harvard, Vancouver, ISO, and other styles

17

Hargreaves, David J. "Developmental Psychology and Music Education." Psychology of Music 14, no. 2 (October 1986): 83–96. http://dx.doi.org/10.1177/0305735686142001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

Eagle, C. "An Objective Psychology of Music." Journal of Music Therapy 25, no. 4 (December 1, 1988): 223–25. http://dx.doi.org/10.1093/jmt/25.4.223.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

Gabrielsson, Alf. "My marriage with music psychology." Psychomusicology: Music, Mind and Brain 20, no. 1-2 (2009): 64–73. http://dx.doi.org/10.1037/h0094223.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Glassman, Lorna R. "Music psychology index, volume 3." Arts in Psychotherapy 12, no. 2 (June 1985): 120. http://dx.doi.org/10.1016/0197-4556(85)90032-2.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Váňová, Hana. "František Sedlák’s legacy to Czech and Slovak music pedagogy and music psychology." Paedagogia Musica 2, no. 2 (2022): 57–72. http://dx.doi.org/10.24132/zcu.musica.2022.02.57-72.

Full text

Abstract:

The study analyses the role of František Sedlák (1916–2002) in the process of forming didactics of music education and music psychology as independent disciplines and teaching subjects at pedagogical faculties in former Czechoslovakia. It traces the significant moments in his life that formed the basis of Sedlák’s theoretical insight and valuable practical experience. Sedlák’s conception of the didactics of music education and music psychology is analyzed in detail, and the interconnection of music psychological and pedagogical approaches is emphasized.

APA, Harvard, Vancouver, ISO, and other styles

22

Paipare, Mirdza. "MUSIC LISTENING IN INTERDISCIPLINARY VIEW." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (May 21, 2019): 528. http://dx.doi.org/10.17770/sie2019vol4.3926.

Full text

Abstract:

Very few researches focus on music as an activity and most often it is linked to music perception, therefore – music psychology. Similarly the theories on this question are developed. Interrelations between music therapy and music psychology, as well as the role of listening and music listening in music pedagogy, psychology and music therapy are little researched. The goal of this article is to intentionally draw attention to the significance of this very common thing in our everyday lives – listening – in communication, development of cognitive and phenomenological skills and abilities (perception, recognition, describing, explaining). These skills and abilities are necessary in the work of pedagogue and psychologist, and especially music therapist.

APA, Harvard, Vancouver, ISO, and other styles

23

Saarikallio, Suvi. "Access-Awareness-Agency (AAA) Model of Music-Based Social-Emotional Competence (MuSEC)." Music & Science 2 (January 1, 2019): 205920431881542. http://dx.doi.org/10.1177/2059204318815421.

Full text

Abstract:

Social–emotional competence (SEC) is a set of psychological resources, highly relevant for adaptive growth and wellbeing. Music has been argued to support social–emotional skills, yet there is little theoretical consensus about the underlying impact mechanisms and the special nature of music as a medium for SEC. This article presents a theoretical model of music-based SEC that combines research from general SEC models with music-specific literature from music psychology, music education, music therapy, and music for health and wellbeing. The proposed access-awareness-agency (AAA) model defines music-based social–emotional competence (MuSEC) as interplay of embodied access, reflective awareness, and sense of agency. These three components are defined as the core competencies that music in particular facilitates; competencies that underlie and explain further competence in behaviors ranging from affective self-regulation to social interaction. The article elaborates these MuSEC components and their potential connections to particular equivalents in general SEC and proposes hypotheses for empirically testing the model. The model offers a novel, integrative SEC-based perspective for advancing theoretical coherence in the growing field of music as social–emotional wellbeing and growth.

APA, Harvard, Vancouver, ISO, and other styles

24

Storr, Anthony, and John A. Sloboda. "Psychology Papers." Musical Times 129, no. 1746 (August 1988): 403. http://dx.doi.org/10.2307/965967.

Full text

APA, Harvard, Vancouver, ISO, and other styles

25

Diaz, Frank M., and Jason M. Silveira. "Music and Affective Phenomena." Journal of Research in Music Education 62, no. 1 (March 20, 2014): 66–77. http://dx.doi.org/10.1177/0022429413519269.

Full text

Abstract:

The purpose of this study was to establish trends in the study of music and affective phenomena through a content and bibliometric analysis of three eminent music research journals, the Journal of Research in Music Education, Psychology of Music, and Music Perception, for the years 1990 through 2009. Excluding editorials, paper responses, and book reviews, 1,293 articles were examined, resulting in 286 (22%) publications that met criteria for further analysis. Data indicated several trends with respect to the sample analyzed, including a notable but not significant decrease of affective studies in the Journal of Research in Music Education, with significant increases in the journal Music Perception. Other trends indicated the emergence of topics and methods that were less prevalent when compared to the overall sample but that evidenced significant increases throughout the period analyzed. These increases occurred for topics relating to expression, physiological and neurological issues and for the use of descriptive methodologies. Other notable trends included increases in examinations of folk, jazz, and world musics.

APA, Harvard, Vancouver, ISO, and other styles

26

Lawendowski, Rafał, and Zofia Mazur. "The psychology of music in Poland: Theoretical considerations and current directions in empirical research." Roczniki Psychologiczne 22, no. 2 (January 10, 2020): 103–20. http://dx.doi.org/10.18290/rpsych.2019.22.2-1.

Full text

Abstract:

The psychology of music has a long tradition and continues to develop both in Poland and abroad. The current issue of Roczniki Psychologiczne [Annals of Psychology] is devoted to topics related to the scientific study of music, addressed by Polish scholars from different research units. In the current introductory article we aim to describe the context in which the psychological study of music develops. Assuming that the psychology of music is a science dealing relationships between music and human listeners, performers, or composers, we explain the meaning of that notion, presenting the characteristics of such relations. We also describe the beginnings and development of the psychology of music in Poland and abroad, introducing the main goals of this multidisciplinary and integrative science. Finally, we present the contents of the current issue of Roczniki Psychologiczne [Annals of Psychology].

APA, Harvard, Vancouver, ISO, and other styles

27

Gess, Nicola. "nr="110"Ein Schreiben des Selbst am Leitfaden der Musik. : F. C. Delius’ ,,Zukunft der Schönheit“." Zeitschrift für Germanistik 31, no. 2 (January 1, 2021): 110–24. http://dx.doi.org/10.3726/92169_110.

Full text

Abstract:

Abstract Musik ist in der Lage, Vergessenes wieder in Erinnerung zu rufen – der Artikel macht sich auf die Suche nach dem literarischen Ursprung dieser Annahme, die gegenwärtig in Psychologie und Populärwissenschaft Konjunktur hat. Nach Ausführungen zur literarischen Romantik und zur Intermedialitätstheorie konzentriert er sich auf Friedrich Christian Delius’ autobiographischen Roman Die Zukunft der Schönheit (2018), um an ihm das Schreiben des Selbst am Leitfaden der Musik zu untersuchen – einer erinnerten/erzählten Musik, die Erinnerungen wachruft, die ihrerseits erzählt werden wollen.Music is able to evoke memories long forgotten – this article takes a closer look at the literary dimensions of this assumption that is currently receiving a great deal of attention in psychology and popular science. After reflecting on literary romanticism and theories of intermediality, it focuses on Friedrich Christian Delius’ novel Die Zukunft der Schönheit (2018). Based on this book, the connection of music, memory, and literature is examined systematically, by reading it, on the one hand, as a multi-layered structure of evocations and in the tradition of literary inspiration myths, and, on the other, by examining how the literary text speaks about music and itself becomes ,musicalized‘.

APA, Harvard, Vancouver, ISO, and other styles

28

Mailer, Albert, and Stephen McAdams. "Music and Psychology: A Mutual Regard." Computer Music Journal 14, no. 3 (1990): 81. http://dx.doi.org/10.2307/3679965.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

Hoshino, Etsuko, Shinobu Ikoma, Shiho Miyazawa, Masahiro Okano, Shimpei Ikegami, Masakazu Sinzano, Yoshitaka Nakajima, Noriko Sato, and Tadasu Hatoh. "Psychology of music on psychological time." Proceedings of the Annual Convention of the Japanese Psychological Association 81 (September 20, 2017): SS—069—SS—069. http://dx.doi.org/10.4992/pacjpa.81.0_ss-069.

Full text

APA, Harvard, Vancouver, ISO, and other styles

30

Shibata, Yuki. "Combining Consumer Behavior with Music Psychology." Japan Marketing Journal 40, no. 1 (June 30, 2020): 73–78. http://dx.doi.org/10.7222/marketing.2020.037.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

Rideout, Roger R. "Psychology and Music Education since 1950." Music Educators Journal 89, no. 1 (September 2002): 33–37. http://dx.doi.org/10.2307/3399882.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

TREHUB, SANDRA E. "Toward a Developmental Psychology of Music." Annals of the New York Academy of Sciences 999, no. 1 (November 2003): 402–13. http://dx.doi.org/10.1196/annals.1284.051.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Hull, Kenneth. "Music Wars, Neuroscience, and Self Psychology." Liturgy 24, no. 4 (July 2009): 24–31. http://dx.doi.org/10.1080/04580630903022170.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Swaminathan, Swathi, and E. Glenn Schellenberg. "Current Emotion Research in Music Psychology." Emotion Review 7, no. 2 (March 17, 2015): 189–97. http://dx.doi.org/10.1177/1754073914558282.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

González-Moreno, Patricia A. "A cultural psychology of music education." Music Education Research 13, no. 4 (December 2011): 479–81. http://dx.doi.org/10.1080/14613808.2011.632159.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

Regout, Ghislaine T. M. "Music and (narrative) psychology: A literature review." Psychotherapy Section Review 1, no. 65 (2020): 60–68. http://dx.doi.org/10.53841/bpspsr.2020.1.65.60.

Full text

Abstract:

Previous research has shown that music can have a positive influence on mood, and memory, and a positive effect on learning and shaping of identity, as well as the treatment of mood disorders, and dementia, has also been found. Consequently music may be of use during therapy. This review explores these effects and discusses possible implementation of music in various forms of psychotherapy. Consequences for these findings, and possible future research, is discussed.

APA, Harvard, Vancouver, ISO, and other styles

37

Hulse, Stewart H., and Suzanne C. Page. "Toward a Comparative Psychology of Music Perception." Music Perception 5, no. 4 (1988): 427–52. http://dx.doi.org/10.2307/40285409.

Full text

Abstract:

Musicians and ethnomusicologists have long been interested in the idea of musical universals, the proposition that features of musical structure are common to the music of all human cultures. Recently, the development of new techniques and new theory makes it possible to ask whether the perceptual principles underlying music span not just human cultures but also other nonhuman species. A series of experiments addressing this issue from a comparative perspective show that a songbird, the European starling, can perceive pitch relations, a form of musical universal. However, the species transposes pitch relations across large shifts in tone height with difficulty. Instead, songbirds show a preference for learning pitch patterns on the basis of the absolute pitch of component tones. These results suggest further comparative studies of music perception may be especially worthwhile, not just for gathering new information about animals, but also for highlighting the principles that make human music perception unique.

APA, Harvard, Vancouver, ISO, and other styles

38

Tan, Patsy, and Ng Wang Feng. "The Oxford Handbook of Music Psychology by Hallam, S., Cross, I., & Thaut, M." Music and Medicine 9, no. 1 (January 31, 2017): 64. http://dx.doi.org/10.47513/mmd.v9i1.559.

Full text

Abstract:

The Oxford Handbook of Music Psychology provides a comprehensive overview of the latest developments in this fast-growing area of research. With contributions from experts in the field, the coverage offered has both range and depth. The fifty-two articles are divided into eleven sections covering both experimental and theoretical perspectives. Ten sections each present articles that focus on specific areas of music psychology: the origins and functions of music; music perception; responses to music; music and the brain; musical development; learning musical skills; musical performance; composition and improvisation; the role of music in our everyday lives; and music therapy and conceptual frameworks. In each section, authors critically review the literature, highlight current issues, and explore possibilities for the future. The final section examines how in recent years the study of music psychology has broadened to include a range of other scientific disciplines. It considers the way that the research has developed in relation to technological advances, fostering links across the field and providing an overview of the areas where the field needs further development in the future.

APA, Harvard, Vancouver, ISO, and other styles

39

Graziano, Amy B., and Julene K. Johnson. "Richard Wallasche's Nineteenth-Century Contributions to the Psychology of Music." Music Perception 23, no. 4 (April 1, 2006): 293–304. http://dx.doi.org/10.1525/mp.2006.23.4.293.

Full text

Abstract:

Richard Wallaschek's (1860 1917) is most widely known for his contributions to comparative musicology; however, he also made significant contributions to the field of music psychology. From 1890 to 1895, Wallaschek pursued interdisciplinary studies at the British Museum in London. During this time Wallaschek proposed theories about the perception and production of music. According to Wallaschek, the perception of music occurs through two types of mental representation: Tonvorstellung (tone representation), which referred to the perception of individual musical elements, and Musikvorstellung (music representation), which referred to the perception of t he higher-order structure of music. Wallaschek emphasized Gestalt-like concepts in his discussion of Musikvorstellung. He also proposed a theory about the production of music, arguing that music and language involve different brain processes. For Wallaschek, music is an expression of emotion while language is an expression of the intellect. Although not widely recognized, Wallaschek was an early contributor to the field of music psychology.

APA, Harvard, Vancouver, ISO, and other styles

40

Sloboda, John A. "Cognition and Real Music: The Psychology of Music Comes of Age." Psychologica Belgica 26, no. 2 (January 1, 1986): 199. http://dx.doi.org/10.5334/pb.750.

Full text

APA, Harvard, Vancouver, ISO, and other styles

41

Zdravić-Mihailović, Danijela. "Meeting music pedagogy and music psychology: Contribution to the study of contemporary professional music education." Artefact 6, no. 1 (2020): 33–48. http://dx.doi.org/10.5937/artefact6-29227.

Full text

Abstract:

This paper discusses the research of psychologists and pedagogues which are committed to issues of professional music education. The statement of Ksenija Radoš (2010) that the psychologist-researchers and music pedagogues pass each other on the same way, and that they go on parallel paths toward the same goals, encountering the same obstacles, and yet never really meet, is the starting point for the review of the relationship between these disciplines. as the first step of our research, the definition of a 'common way' is imposed, and then testing the connection of current issues of music education and music psychology. according to our understanding, there are several important reasons for the mentioned situation in music education: focusing music pedagogy on general music education and 'late' awakening of pedagogy of professional music education as a special scientific discipline; obsolescence of the curriculum of professional music education and insufficient cooperation between music pedagogues and psychologists-researchers. Interplay of these disciplines, implemented through the planned conducted research that focuses on the problems of professional music education, could be an important support for the development and improvement of specific areas of music pedagogy.

APA, Harvard, Vancouver, ISO, and other styles

42

Knyazeva, Tatiana S. "Musical Abilities and Intelligence as a Subject of Research in Music Psychology and Psychology of Music Education." Musical Art and Education 7, no. 3 (2019): 30–45. http://dx.doi.org/10.31862/2309-1428-2019-7-3-30-45.

Full text

Abstract:

The article provides an overview of scientific research on the relationship of musicality and general intelligence. It is noted that the problem of the relationship between musicality, musical achievements and intelligence is interdisciplinary. It is significant for general and music psychology as well as for the theory and practice of music education. There is a shortage of empirical and theoretical works on this topic in the modern Russian-language scientific literature, and that is what determines the relevance of the overview presented. The article discusses the role of general intelligence in the formation of a musical professional and musical and educational achievements. There is a continuity in the development of scientific ideas and approaches from the beginning of the last century to modern research. Musical abilities are shown to be largely determined by the intellectual potential of the individual, which explains the association of musical abilities with academic performance and abilities in non-musical areas. Modern approaches view musicality as a polymorphic entity which is better described in terms of multidimensional musical behavior. The formation of a professional in the musical field makes the relationship between musicality and intelligence more complex; it begins to be mediated by a combination of factors, a significant place among which is shared intelligence.

APA, Harvard, Vancouver, ISO, and other styles

43

Krause, Amanda E., Adrian C. North, and Brody Heritage. "Music-related activities on Facebook." Psychology of Music 48, no. 4 (December 17, 2018): 564–78. http://dx.doi.org/10.1177/0305735618816165.

Full text

Abstract:

Despite the current prevalence of users performing musical activities on social media, and on Facebook in particular, little research has examined these behaviors from the perspective of consumer psychology. A cross-sectional, convenience sample of 400 participants ( Mage = 22.56, SDage = 7.79) completed an online questionnaire. The findings illustrated that the constructs of opinion leadership, innovativeness, and self-efficacy within the consumer psychology literature were associated with performing music-related activities on Facebook, including the active creation/consumption of music content and use of music listening applications. Thus, music activities performed on Facebook have an overt consumer psychological component. These findings indicate that to understand music-related activities on social media, further research should consider psychological variables in explaining this common and economically important activity.

APA, Harvard, Vancouver, ISO, and other styles

44

Mehr, Samuel A., Jennifer Kotler, Rhea M. Howard, David Haig, and Max M. Krasnow. "Genomic Imprinting Is Implicated in the Psychology of Music." Psychological Science 28, no. 10 (August 31, 2017): 1455–67. http://dx.doi.org/10.1177/0956797617711456.

Full text

Abstract:

Why do people sing to babies? Human infants are relatively altricial and need their parents’ attention to survive. Infant-directed song may constitute a signal of that attention. In Prader-Willi syndrome (PWS), a rare disorder of genomic imprinting, genes from chromosome 15q11–q13 that are typically paternally expressed are unexpressed, which results in exaggeration of traits that reduce offspring’s investment demands on the mother. PWS may thus be associated with a distinctive musical phenotype. We report unusual responses to music in people with PWS. Subjects with PWS ( N = 39) moved more during music listening, exhibited greater reductions in heart rate in response to music listening, and displayed a specific deficit in pitch-discrimination ability relative to typically developing adults and children ( N = 589). Paternally expressed genes from 15q11–q13, which are unexpressed in PWS, may thus increase demands for music and enhance perceptual sensitivity to music. These results implicate genomic imprinting in the psychology of music, informing theories of music’s evolutionary history.

APA, Harvard, Vancouver, ISO, and other styles

45

Mouton, Angela R. "Performance coaching in sport, music, and business: From Gallwey to Grant, and the promise of positive psychology." International Coaching Psychology Review 11, no. 2 (September 2016): 129–41. http://dx.doi.org/10.53841/bpsicpr.2016.11.2.129.

Full text

Abstract:

The purpose of this paper is to explore performance coaching in sport, music, and business. The paper begins by describing some of the popular, lay methods used by coaches in each field, many influenced by The Inner Game books of Timothy Gallwey. Next, the paper discusses the scientifically grounded theories, principles, and methods that underlie performance coaching today, primarily derived from sport psychology, music psychology, organisational psychology, and coaching psychology. Finally, the paper examines the contribution that positive psychology has and could make by providing new theories, constructs, perspectives, and methods to the art and science of performance coaching in sport, music, and business.

APA, Harvard, Vancouver, ISO, and other styles

46

Andean, James. "Ecological Psychology and the Electroacoustic Concert Context." Organised Sound 16, no. 2 (June 28, 2011): 125–33. http://dx.doi.org/10.1017/s1355771811000070.

Full text

Abstract:

An application of ecological psychology, based on the work of James J. Gibson, to electroacoustic music would consider the listener in relationship with both the work and the environment, in a dynamic and mutually informing relationship. This perspective is applied to various electroacoustic concert paradigms, demonstrating a wide range of listening experiences; the implications for electroacoustic music as a genre are examined. Several qualities of acousmatic music are used to explore some potential limitations of Gibson's theories. Finally, some relative strengths and weaknesses of ecological psychology are considered, as well as some potentially fruitful cooperations with other, somewhat divergent, theoretical approaches.

APA, Harvard, Vancouver, ISO, and other styles

47

Wenqin, Li. "Analysis of the Effectiveness of Music Therapy on Mental Health of College Students." Journal of Healthcare Engineering 2022 (January 25, 2022): 1–5. http://dx.doi.org/10.1155/2022/7288788.

Full text

Abstract:

Music therapy is a relatively mature marginal subject at present, and it is also a relatively common treatment method. This kind of treatment can better help college students get rid of bad psychology and guide their psychology to develop in a healthy direction. Mental health is one of the important indicators to measure the comprehensiveness of human quality and plays an important role in the sustainable development of human beings. Music therapy plays a very important role in college students’ mental health education. As a marginal subject, music therapy combines music, medicine, and psychology, which is beneficial to alleviate students’ bad emotions and psychological problems, and helps college students form a sound personality. Using music therapy can let college students vent their emotions in a suitable environment and atmosphere and then guide them correctly. This paper introduces the effectiveness of music therapy in college students’ mental health education and then puts forward important measures to promote the implementation of music therapy in college students’ mental health education.

APA, Harvard, Vancouver, ISO, and other styles

48

Wintle, Christopher. "From Psychology to Music: Keller via Freud." Musical Times 144, no. 1884 (2003): 7. http://dx.doi.org/10.2307/3650696.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Bunt, Leslie. "Book Review: The Developmental Psychology of Music." Journal of British Music Therapy 2, no. 1 (June 1988): 32–33. http://dx.doi.org/10.1177/135945758800200106.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Levitin, Daniel J., Jessica A. Grahn, and Justin London. "The Psychology of Music: Rhythm and Movement." Annual Review of Psychology 69, no. 1 (January 4, 2018): 51–75. http://dx.doi.org/10.1146/annurev-psych-122216-011740.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!