Supplemental Readings - Routledge

Supplemental Reading List for Music in the Human Experience: An Introduction to Music Psychology

PART I: INTRODUCING MUSIC PSYCHOLOGY Chapter 1. What is Music Psychology? Gjerdingen, R. (2002). The psychology of music. In T. Christensen (Ed.). The Cambridge history of western music theory (pp. 956–981). Cambridge: Cambridge University Press. Hallam, S., Cross, I., & Thaut, M. (Eds.). (2009). The Oxford handbook of music psychology. New York: Oxford University Press. Lehman, A., Sloboda, J., & Woody, R. (2007). Psychology for musicians: Understanding and acquiring the skills. New York: Oxford University Press. North, A. & Hargreaves, D. (2008). The social and applied psychology of music. Oxford: Oxford University Press. Thompson, W. (2009). Music, thought, and feeling: Understanding the psychology of music. Oxford: Oxford University Press.

Chapter 2. Philosophical Issues in Music Psychology Bowman, W. (1998). Philosophical perspectives on music. New York: Oxford University Press. Eisner, E. (1985). Aesthetic modes of knowing. In E. Eisner (Ed.), Learning and teaching: The ways of knowing. Eighty-fourth yearbook of the National Society for the Study of Education (pp. 23–36). Chicago: University of Chicago Press. Gazzaniga, M. (2008). Human: The science behind what makes us unique. New York: HarperCollins. Langer, S. (1967, 1972, 1982). Mind: An essay on human feeling, Vols. 1–3. Baltimore, MD: Johns Hopkins University Press. Meyer, L. (1956). Emotion and meaning in music. Chicago: University of Chicago Press.

© 2011 Taylor & Francis, Music in the Human Experience, Routledge

Chapter 3. How We Came to Be Musical Cross, I. (2009). The nature of music and its evolution. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology, (pp. 3–13). Oxford: Oxford University Press. Fitch, T. (2006). The biology and evolution of music: A comparative perspective. Cognition, 100, 173–215. Krause, B. (2002). Wild soundscapes: Discovering the voice of the natural world. Berkeley, CA: Wilderness Press. Osborne, N. (2009). Towards a chronobiology of musical rhythm. In S. Malloch & C. Trevarthen (Eds.), Communicative musicality: Exploring the basis of human companionship, (pp. 545–564). Oxford: Oxford University Press. Wallin, N., Merker, B., & Brown, S. (Eds.). (2000). Origins of music. Cambridge, MA: The MIT Press.

Chapter 4. Music Around the World and Across Time Becker, J. (2009). Ethnomusicology and empiricism in the twenty-first century. Ethnomusicology, 53(1), 478–501. Blacking, J. (1995). Music, culture, and experience. Chicago: University of Chicago Press. Clayton, M., Herbert, T., & Middleton, R. (Eds.). (2003). The cultural study of music: A critical introduction. New York: Routledge. Mithen, S. (2006). The singing Neanderthals: The origins of music, language, mind, and body. Boston, MA: Harvard University Press. Wade, B. (2009). Thinking musically: Experiencing music, expressing culture, 2nd ed. New York: Oxford University Press.

PART II: PERCEIVING, UNDERSTANDING, AND RESPONDING TO MUSIC Chapter 5. Acoustical Foundations of Music Everest, F. & Pohlmann, K. (2009). Master handbook of acoustics, 5th ed. New York: McGraw-Hill.


Fletcher, N. & Rossing, T. (2005). The physics of musical instruments. New York: Springer Science+Business Media. Hall, D. (2002). Musical acoustics, 3rd ed. Boston, MA: Brooks Cole. Howard, D. & Angus, J. (2006). Acoustics and psychoacoustics, 3rd ed. Oxford: Focal Press. Johnston, I. (2002). Measured tones: The interplay of physics and music, 2nd ed. Philadelphia: Institute of Physics Publishing.

Chapter 6. Musical Hearing Hodges, D. (2006). The development of the musical brain. In G. McPherson (Ed.), The child as musician: A handbook of musical development, (pp. 51–68). Oxford: Oxford University Press. Kunchar, M. (2008). Probing the temporal resolution and bandwidth of human hearing. Proceedings of Meetings on Acoustics, Acoustical Society of America, 2(050006), 1– 12. Plack, C. (2005). The sense of hearing. Malwah, NJ: Lawrence Erlbaum. Schreiner, C. & Winer, J. (2007). Auditory cortex mapmaking: Principles, projections, and plasticity. Neuron, 56(2), 356–365. Watson, A. (2009). The biology of musical performance and performance-related injury. Lanham, MD: The Scarecrow Press.

Chapter 7. Psychoacoustics and the Perception of Music Cross, I. (Ed.). (2009). Part 2. Music perception. In S. Hallam, I. Cross, & M. Thaut, (Eds.), The Oxford handbook of music psychology, (pp. 45–118). New York: Oxford University Press. Desain, P. & Honing, H. (2003). The formation of rhythmic categories and metric priming. Perception, 32, 341–365. Justus, T. & Bharucha, J. (2002). Music perception and cognition. In S. Yantis (Ed.), Handbook of experimental psychology, Vol. I: Sensation and perception, 3rd ed. (pp. 453–492). New York: Wiley & Sons. London, J. (2004). Hearing in time: Psychological aspects of musical meter. New York: Oxford University Press.


Zatorre, R. (2003). Absolute pitch: A model for understanding the influence of genes and development on neural and cognitive function. Nature Neuroscience, 6, 692–695.

Chapter 8. Music Cognition Bregman, A. (1990). Auditory scene analysis: The perceptual organization of sound. Cambridge, MA: The MIT Press. Huron, D. (2006). Sweet anticipation: Music and the psychology of expectation. Cambridge, MA: MIT Press. Lerdahl, F. (2009). Genesis and architecture of the GTTM project. Music Perception, 26(3), 187–194. Patel, A. (2008). Music, language, and the brain. Oxford: Oxford University Press. Sloboda, J. (2005). Exploring the musical mind. New York: Oxford University Press.

Chapter 9. Music and the Brain Avanzini, G., Faienza, C., Minciacchi, D., Lopez, L. & Majno, M. (Eds.). (2003). The neurosciences and music. Annals of the New York Academy of Sciences, 999. Avanzini, G., Lopez, L., Koelsch, S. & Majno, M. (Eds.). (2005). The neurosciences and music II: From perception to performance. Annals of the New York Academy of Sciences, 1060. Dalla Bella, S., Kraus, N., Overy, K., Pantev, C. Snyder, J., Tervaniemi, M., Tillman, B., & Schlaug, G. (2009). The neurosciences of music III: Disorders and plasticity. Hoboken, NJ: Wiley-Blackwell. Edwards, R. & Hodges, D. (2007). Neuromusical research: An overview of the literature. In W. Gruhn & F. Rauscher (Eds.). Neurosciences in music pedagogy (pp. 1–25). Hauppauge, NY: Nova Science Publishers, Inc. Zatorre, R. & Peretz, I. (Eds.). (2001). The biological foundations of music. New York: New York Academy of Sciences.

Chapter 10. Bodily Responses to Music Andreassi, J. (2007). Psychophysiology: Human behavior & physiological response, 5th ed. Mahwah, NJ: Lawrence Erlbaum Associates. © 2011 Taylor & Francis, Music in the Human Experience, Routledge

Coan, J. & Allen, J. (Eds.). (2007). Handbook of emotion elicitation and assessment. New York: Oxford University Press. Hodges, D. (2010). Psychophysiological responses to music. In P. Juslin & J. Sloboda (Eds.), Music and emotion (pp. 279–311). Oxford: Oxford University Press. Konečni, V., Wanic, R., & Brown, A. (2007). Emotional and aesthetic antecedents and consequences of music-induced thrills. American Journal of Psychology, 120(4), 619–643. Larsen, J., Berntson, G., Poehlmann, K., Ito, T., & Cacioppo, J. (2008). The psychophysiology of emotion. In M. Lewis, J. Haviland-Johes, & L. Barrett (Eds.), Handbook of Emotions, 3rd ed. (pp. 180–195). New York: Guilford Press.

Chapter 11. Musical Emotions Gabrielsson, A. (2010). Strong experiences with music. In P. Juslin & J. Sloboda, (Eds.), Handbook of music and emotion (pp. 547–574). Oxford: Oxford University Press. Gabrielsson, A. & Juslin, P. (2003). Emotional expression in music. In R. Davidson, K. Scherer, & H. Goldsmith, (Eds.), Handbook of affective sciences (pp. 503–534). New York: Oxford University Press. Juslin, P., Liljeström, S.,Västfjäll, D., & Lundqvist, L-O. (2010). How does music evoke emotions? Exploring the underlying mechanisms. In P. Juslin & J. Sloboda, (Eds.), Handbook of music and emotion (pp. 605–642). Oxford: Oxford University Press. Konečni, V. (2005). The aesthetic trinity: Awe, being moved, thrills. Bulletin of Psychology and the Arts, 5(2), 27–44. Sloboda, J. & Juslin, P. (2010). At the interface between the inner and outer world: Psychological perspectives. In P. Juslin & J. Sloboda, (Eds.), Handbook of music and emotion (73–97). Oxford: Oxford University Press.

PART III: BEING MUSICAL Chapter 12. The Musical Person Abeles, H. (2009). Are musical instrument gender associations changing? Journal of Research in Music Education, 57(2), 127–139. Kemp, A. (1996). The musical temperament. Oxford: Oxford University Press. © 2011 Taylor & Francis, Music in the Human Experience, Routledge

Lamont, A. (2009). Musical preferences. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology, (pp. 160–168). Oxford: Oxford University Press. MacDonald, R., Hargreaves, D., & Miell, D. (Eds.). (2002) Musical identities. Oxford: Oxford University Press. North, A. & Hargreaves, D. (2008). The social and applied psychology of music. Oxford: Oxford University Press.

Chapter 13. Music Performance Altenmüller, E., Wiesendanger, M., & Kesselring, J. (2006). Music, motor control, and the brain. Oxford: Oxford University Press. Davidson, J. (Ed.). (2004). The music practitioner: Research for the music performer, teacher, and listener. Burlington, VT: Ashgate Publishing Co. Ericsson, E. (2008). Deliberate practice and acquisition of expert performance: A general overview. Academic Emergence Medicine, 15, 988–994. Juslin, P., Friberg, A., Schoonderwaldt, E., & Karlsson, J. (2004). Feedback learning of musical expressivity. In A. Williamon (Ed.), Musical excellence (pp. 247–270). Oxford: Oxford University Press. McPherson, G. (Ed.). (2006). The child as musician: A handbook of musical development. New York: Oxford University Press.

Chapter 14. The Psychology of Music Learning Bandura, A. (1989). Social cognitive theory. In R. Vasta (Ed.), Annals of child development. Vol. 6. Six theories of child development (pp. 1–60). Greenwich, CT: JAI Press. Braun, A. & Bock, J. (2007). Born to learn: Early learning optimizes brain function. In W. Gruhn & F. Rauscher (Eds.), Neurosciences in music pedagogy, (pp. 27–51). New York: Nova Science Publishers. Lefrançois, G. (2006). Theories of human learning, 5th ed. Belmont, CA: Thomson Wadsworth. Matlin, M. (2004). Cognition, 6th ed. New York: John Wiley & Sons.


Zull, J. (2002). The art of changing the brain: Enriching the practice of teaching by exploring the biology of learning. Sterling, VA: Stylus Publishing.

Chapter 15. Music and Health Brandfonbrener, A. & Lederman, R. (2002). Performing arts medicine. In R. Colwell & C. Richardson (Eds.), The new handbook of research on music teaching and learning, (pp. 1009–1022). Oxford: Oxford University Press. Chasin, M. (2009). Hearing loss in musicians: Prevention and management. San Diego, CA: Plural Publishing. Sataloff, R. (2005). Professional Voice, Vols. I, II, & III, 3rd ed. San Diego: Plural Publishing. Spintge, R. (1999). MusicMedicine: Applications, standards, and definitions. In R. Pratt & D. Grocke (Eds.). (1999). MusicMedicine 3, (pp. 3–11). Victoria, Australia: The University of Melbourne. Wheeler, B. (Ed.). (2005). Music therapy research. Phoenixville, PA: Barcelona Publishers.

Chapter 16. Music in Social Contexts Csikszentmihalyi, M. & Hunter, J. (2004). Happiness in everyday life: The uses of experience sampling. Journal of Happiness Studies, 4(2), 185–199. Hallam, S. & McDonald, R. (2009). The effects of music in community and educational settings. In S. Hallam, I. Cross, & M. Thaut (Eds.), The Oxford handbook of music psychology, (pp. 471–480). Oxford: Oxford University Press. Juslin, P., Liljeström, S., Västfjäll, D., Barradas, G., & Silva, A. (2008). An experience sampling study of emotional reactions to music: Listener, music, and situation. Emotion, 8(5), 668–683. North, A. & Hargreaves, D. (2010). Music and marketing. In P. Juslin & J. Sloboda (Eds.), Handbook of music and emotion, (pp. 909–930). Oxford: Oxford University Press. Rideout, V., Foehr, U., & Roberts, D. (2010). Generation M2: Media in the lives of 8- to 18-year-olds. Menlo Park, CA: Kaiser Family Foundation.
