Psychology of Music

Approx.542 pages

List of ContributorsPreface1. The Perception of Musical Tones I. The Psychoacoustics of Music II. Perceptual Attributes of Single Tones III. Perceptual Attributes of Simultaneous Tones IV. Conclusion References2. Exploration of Timbre by Analysis and Synthesis I. Timbre II. Timbre and the Fourier Spectrum: The Classical View III. The Shortcomings of the Classical Conception IV. Attack Transients V. Complexity of Sounds: Importance of Characteristic Features VI. Instrumental and Vocal Timbres: Additive Synthesis VII. Cross Synthesis and Voice Synthesis VIII. Additive Synthesis: Percussion Instruments IX. Substractive Synthesis X. Acoustic Modeling as a Synthesis Technique XI. The Importance of Context XII. Analysis-Synthesis as Fitting Acoustic and Perceptual Models to Data XIII. The Use of Analysis-Synthesis Models of Timbre XIV. Timbral Space XV. Conclusion Appendix: Signal Representations and Analysis-Synthesis Processes References3. Perception of Singing I. Introduction II. Function of the Voice III. Resonatory Aspects IV. Phonation V. Vibrato VI. Pitch Accuracy in Singing Practice VII. Phrasing and Emotion VIII. Concluding Remarks References4. Grouping Mechanisms in Music I. Introduction II. Grouping Principles III. Two-Channel Listening to Melodic Sequences IV. Channeling of Rapid Sequences of Single Tones V. Voluntary Attention VI. Conclusion References5. The Listener and the Acoustic Environment I. Introduction II. Methodology III. Level Effects of Indirect Sound: Loudness IV. Temporal Effects of Indirect Sound: Definition V. Spatial Effects of Indirect Sound: Spaciousness VI. The Compromise between Definition and Spaciousness VII. Conclusion References6. Rhythm and Tempo I. Definitions II. Rhythm and Spontaneous Tempo III. Rhythmic Forms IV. The Perception of Musical Rhythms V. Conclusion References7. Timing by Skilled Musicians I. Perception, Production, and Imitation of Fractions of the Beat II. Perceptual Judgment of Beat Fractions III. Production of Beat Fractions IV. Imitation of Beat Fractions V. A Shared-Process Model of the Perception, Production, and Imitation of Beat Fractions VI. Further Analysis of Perceptual Judgment VII. Further Analysis of Production VIII. Summary Glossary Appendix References8. Intervals, Scales, and Tuning I. Introduction II. Are Scales Necessary? III. Musical Interval Perception IV. Natural Intervals and Scales V. Conclusions and Caveats References9. The Processing of Pitch Combinations I. Introduction II. Feature Abstraction III. Higher Order Abstractions IV. Alphabets and Hierarchies V. Memory Systems VI. Conclusions References10. Melodic Processes and the Perception of Music I. The Perception and Classification of Two Archetypal Melodic Processes II. Experimental Findings III. Implications References11. Structural Representations of Musical Pitch I. Introduction II. Unidimensional Approaches to Pitch III. Potentially Multidimensional Approaches to Pitch IV. The Spatial Representation of Pitch V. Illustrative Analyses of Empirical Data VI. Discussion References12. Musical Ability I. Concepts of Musical Ability II. Correlational and Factorial Studies of Musical Ability III. Musical Ability and Other Intellectual Abilities References13. Melodic Information Processing and Its Development I. Introduction II. Development III. Adult Memory IV. Contour versus Interval V. Summary References14. Absolute Pitch I. Introduction II. Genesis of AP III. Measurement of AP IV. Stability of the Internal Standard V. Learning AP VI. The Value of AP References15.