Oxford Handbook of Music Psychology

PART I - THE ORIGINS AND FUNCTIONS OF MUSIC EDITED BY IAN CROSS ; 1. The nature of music and its evolution ; 2. Universals in music processing ; 3. Music and meaning ; 4. The social and personal functions of music in cross-cultural perspective ; PART II - MUSIC PERCEPTION EDITED BY IAN CROSS ; 5. The perception of pitch ; 6. Tonal cognition ; 7. The perception of musical timbre ; 8. Musical time ; 9. Components of melodic processing ; 10. Memory for music ; PART III - RESPONSES TO MUSIC EDITED BY DONALD HODGES ; 11. Bodily responses to music ; 12. Emotional responses to music ; 13. The relationship between musical structure and perceived expression ; 14. Aesthetics ; 15. Musical preferences ; PART IV - MUSIC AND THE BRAIN EDITED BY ANIRUDDH PATEL ; 16. The neurobiological basis of musical expectations ; 17. Disorders of musical cognition ; 18. Music, musicians and brain plasticity ; 19. Music and the brain: three links to language ; PART V - MUSICAL DEVELOPMENT EDITED BY DAVID HARGREAVES ; 20. Prenatal development and the phylogeny and ontogeny of musical behaviour ; 21. Music lessons from infants ; 22. Music in the school years ; 23. The impact of music instruction on other skills ; PART VI - LEARNING MUSICAL SKILLS EDITED BY SUSAN HALLAM ; 24. Musical potential ; 25. Practising ; 26. Individuality in the learning of musical skills ; 27. Motivation to learn ; 28. The role of the family in support learning ; 29. The role of the institution and teachers in supporting learning ; PART VII - MUSICAL PERFORMANCE EDITED BY RICHARD PARNCUTT ; 30. Measurement and models of performance ; 31. Planning and performance ; 32. Sight-reading ; 33. Performing from memory ; 34. Movement and collaboration in musical performance ; 35. Emotion in music performance ; 36. Optimising physical and psychological health in performing musicians ; PART VIII - COMPOSITION AND IMPROVISATION EDITED BY PETER WEBSTER ; 37. Making a mark: the psychology of composition ; 38. Musical improvisation ;

Susan Hallam is Professor of Education at the Institute of Education, University of London and currently Dean of the Faculty of Policy and Society. She pursued careers as both a professional musician and a music educator before completing her psychology studies and becoming an academic in 1991 in the department of Educational Psychology at the Institute. Her research interests include disaffection from school, ability grouping and homework and issues relating tolearning in music, practising, performing, musical ability, musical understanding and the effects of music on behaviour and studying. She is past editor of Psychology of Music, Psychology of Education Review and Learning Matters. She has twice been Chair of the Education Section of the BritishPsychological Society, and is currently treasurer of the British Educational Research Association, an auditor for the Quality Assurance Agency and an Academician of the Learned Societies for the Social SciencesIan Cross teaches at the University of Cambridge where he is Reader in Music & Science, Director of the Centre for Music & Science and a Fellow of Wolfson College. He has published widely in the field of music cognition. His principal research focus at present is on music as a biocultural phenomenon, involving collaboration with psychologists, anthropologists, archaeologists and computational neuroscientists. His research explores the biological and cultural bases for human musicality,in particular, the mechanisms underlying the capacity for achievement and maintenance of inter-individual synchrony of behaviour, those underlying the experience of meaning in engagement with music, and those involved in the cognition and perception of multi-levelled structure in both music and language.Michael H Thaut received his masters and PhD in music from Michigan State University. He is also a graduate of the Mozarteum Music Conservatory in Salzburg/Austria. At Colorado State University he is a Professor of Music and a