In this survey of our current knowledge concerning the cognitive psychology of music, the author--a psychologist and practicing musician--examines the mental processes involved in composing, performing, listening to, and "understanding" music, and shows how such skills are acquired. In this survey of our current knowledge concerning the cognitive psychology of music, the author--a psychologist and practicing musician--examines the mental processes involved in composing, performing, listening to, and "understanding" music, and shows how such skills are acquired.
The Musical Mind: The Cognitive Psychology of Music
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In this survey of our current knowledge concerning the cognitive psychology of music, the author--a psychologist and practicing musician--examines the mental processes involved in composing, performing, listening to, and "understanding" music, and shows how such skills are acquired. In this survey of our current knowledge concerning the cognitive psychology of music, the author--a psychologist and practicing musician--examines the mental processes involved in composing, performing, listening to, and "understanding" music, and shows how such skills are acquired.
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Simon Mcleish –
Originally published on my blog here in May 1998. This is a really excellent book for anyone interested in how the mind perceives and understands music. As the author points out, most of the literature in this area is either written by psychologists who are not musicians, or by musicians with no background in psychology. John Sloboda is unusual in being both a musician and a psychologist, teaching the piano as well as being a professor of psychology. The fact that he is involved in both fields me Originally published on my blog here in May 1998. This is a really excellent book for anyone interested in how the mind perceives and understands music. As the author points out, most of the literature in this area is either written by psychologists who are not musicians, or by musicians with no background in psychology. John Sloboda is unusual in being both a musician and a psychologist, teaching the piano as well as being a professor of psychology. The fact that he is involved in both fields means that he avoids the trap of missing the parts of the musical experience which are important to the musician that the psychologists often fall into - particularly when they are devising experiments. He can also avoid the complementary trap of devising explanations of musical phenomena which are psychologically discredited which musicians often fall into. The book covers current research in just about every area you could imagine, from musical education to composing and improvising to pitch, rhythm and musical structure perception and understanding. Sloboda also suggests areas where more research is needed. This is a thought provoking book, and one to which I am sure I will return again and again.
Andrew Herbert –
This book is about 30 years old (depending on what printing you get). Nonetheless, it serves as an excellent primer on the importance of music in human thinking. Sloboda summarized a lot of research and musicology in this book. Thus, it's a nice starting point for working through what we've learned since "The Musical Mind" was published. This book is about 30 years old (depending on what printing you get). Nonetheless, it serves as an excellent primer on the importance of music in human thinking. Sloboda summarized a lot of research and musicology in this book. Thus, it's a nice starting point for working through what we've learned since "The Musical Mind" was published.
Marco Klein –
Sloboda has put together a comprehensive outline of psychological aspects (mainly cognitive) that apply to the perception and production of music. With his academic background and his experience as practicing musician, his description is at the same time critically scientific and musical. The structure of the book is well organised, and the chapter topics lead well into the next. A certain degree of musical understanding is required to follow his excursion (e.g. building arguments on the concept Sloboda has put together a comprehensive outline of psychological aspects (mainly cognitive) that apply to the perception and production of music. With his academic background and his experience as practicing musician, his description is at the same time critically scientific and musical. The structure of the book is well organised, and the chapter topics lead well into the next. A certain degree of musical understanding is required to follow his excursion (e.g. building arguments on the concept of circle of fifths without explicitly explaining it), but that shouldn’t put anyone off reading this rather recent, yet still relevant book. If your goal is to make connections between psychology and music, then this book will certainly help you on your way.
Christopher Heckman –
Not so much a book to read straight through. I really only read chapters 2, 4, and 5.
robert –
Although the original edition of this book is from about 1983, it's an excellent introduction to approaches to cognitive science and music--even if you're not into cognitive science, the way Sloboda looks at the brain looking at music should prove interesting to anyone who thinks about music as a profession. Although the original edition of this book is from about 1983, it's an excellent introduction to approaches to cognitive science and music--even if you're not into cognitive science, the way Sloboda looks at the brain looking at music should prove interesting to anyone who thinks about music as a profession.
Wilson Silva –
Livro interessante do Sloboda, mas é um tanto técnico. Se você não tem um aprofundamento musical, fica difícil compreender muitas passagens (e olha que estudei música e ainda assim "patinei" em muitos momentos do livro). Livro interessante do Sloboda, mas é um tanto técnico. Se você não tem um aprofundamento musical, fica difícil compreender muitas passagens (e olha que estudei música e ainda assim "patinei" em muitos momentos do livro).
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