LIBROS
RECOMENDADOS 
Ejemplos de Áreas, Temas y Trabajos de Investigación para la asignatura del Curso IV de LOGSE de la especialidad de Acordeón: Trabajo de investigación de fin de carrera: Investigación
LIBROS
RECOMENDADOS
Ejemplos de Áreas, Temas y Trabajos de Investigación para la asignatura del Curso IV de LOGSE de la especialidad de Acordeón: Trabajo de investigación de fin de carrera: Investigación
The Oxford Handbook of Music Psychology
Alianza Música información
Music, Motor Control and the Brain 2006 Oxford University Press
Explorin the musical mind 2005 Oxford University Press
cognition, emotion, ability, function
Musical Excelence 2004 Oxford University Press
Strategies and techniques to enhance performance
The Cognitive Neuroscience of Music 2003 Oxford University Press
The Science and Psychology of Music Performance 2002 Oxford University Press
Creative Strategies for Teaching and Learning
La mano 2002 Tusquets Editores
De cómo su uso configura el cerebro, el lenguaje y la cultura humana
Music and emotion 2001 Oxford University Press
Theory and research
Musical Perception 1994 Oxford University Press
Generative Processes in Music 2000 (1988) Clarendon Press Oxford
The Psychology of Performance, Improvisation, and Composition
La inteligencia hábil 1997 (1986) Aique
El desarrollo de las capacidades cognitivas
Angus Gellatly (compilador) ISBN: 950-701-377-6
The Musical Mind 1985/2000 Oxford University Press
The Cognitive Psychology of Music
The Psychology of music 1982 Academic Press
Ver página: Lectura a vista
http://www.musicpsychology.net/en/
Part 1 The origins and functions of music 1
Edited by Ian Cross
1 The nature of music and its evolution 3
Ian Cross
2 Universals in music processing 14
Catherine Stevens and Tim Byron
3 Music and meaning 24
Ian Cross and Elizabeth Tolbert
4 The social and personal functions of music in cross-cultural perspective 35
Martin Clayton
Part 2 Music perception 45
Edited by Ian Cross
5 The perception of pitch 47
Thomas Stainsby and Ian Cross
6 Tonal cognition 59
Emmanuel Bigand and Bénédicte Poulin-Charronnat
7 The perception of musical timbre 72
Stephen McAdams and Bruno L. Giordano
8 Musical time 81
Mari Riess Jones
9 Components of melodic processing 93
Mark A. Schmuckler
10 Memory for music 107
Bob Snyder
Part 3 Responses to music 119
Edited by Donald A. Hodges
11 Bodily responses to music 121
Donald A. Hodges
12 Emotional responses to music 131
Patrik N. Juslin
13 The relationship between musical structure and perceived expression 141
Alf Gabrielsson
14 Aesthetics 151
David Huron
15 Musical preferences 160
Alexandra Lamont and Alinka Greasley
Part 4 Music and the brain 169
Edited by Aniruddh D. Patel
16 The neurobiological basis of musical expectations 171
Laurel J. Trainor and Robert J. Zatorre
17 Disorders of musical cognition 184
Lauren Stewart, Katharina von Kriegstein, Simone Dalla Bella, Jason D. Warren and Timothy D. Griffi ths
18 Music, musicians, and brain plasticity 197
Gottfried Schlaug
19 Music and the brain: three links to language 208
Aniruddh D. Patel
Part 5 Musical development 217
Edited by David J. Hargreaves
20 Prenatal development and the phylogeny and ontogeny of music 219
Richard Parncutt
21 Music lessons from infants 229
Sandra E. Trehub
22 Music in the school years 235
Alexandra Lamont
23 The impact of music instruction on other skills 244
Frances H. Rauscher
Part 6 Learning musical skills 253
Edited by Susan Hallam
24 Musical potential 255
Gary McPherson and Susan Hallam
25 Practising 265
Harald Jørgensen and Susan Hallam
26 Individuality in the learning of musical skills 274
Helena Gaunt and Susan Hallam
27 Motivation to learn 285
Susan Hallam
28 The role of the family in supporting learning 295
Andrea Creech
29 The role of the institution and teachers in supporting learning 307
Graham Welch and Adam Ockelford
Part 7 Musical performance 321
Edited by Richard Parncutt
30 Measurement and models of performance 323
W. Luke Windsor
31 Planning and performance 332
Eckart Altenmüller and Sabine Schneider
32 Sight-reading 344
Andreas C. Lehmann and Reinhard Kopiez
33 Performing from memory 352
Roger Chaffin, Topher R. Logan and Kristen T. Begosh
34 Movement and collaboration in musical performance 364
Jane W. Davidson
35 Emotion in music performance 377
Patrik N. Juslin
36 Optimizing physical and psychological health in performing musicians 390
Dianna T. Kenny and Bronwen Ackermann
Part 8 Composition and improvisation 401
Edited by Peter Webster
37 Making a mark: the psychology of composition 403
Jonathan Impett
38 Musical improvisation 413
Richard Ashley
39 Children as creative thinkers in music: focus on composition 421
Peter R. Webster
Part 9 The role of music in everyday life 429
Edited by John Sloboda
40 Choosing to hear music: motivation, process and effect 431
John Sloboda, Alexandra Lamont and Alinka Greasley
41 Music in performance arts: film, theatre, and dance 441
Annabel J. Cohen
42 Peak experiences in music 452
John Whaley, John Sloboda and Alf Gabrielsson
43 Musical identities 462
Raymond MacDonald, David J. Hargreaves and Dorothy Miell
44 The effects of music in community and educational settings 471
Susan Hallam and Raymond MacDonald
45 Music and consumer behaviour 481
Adrian C. North and David J. Hargreaves
Part 10 Music therapy 491
Edited by Michael Thaut
46 Processes of music therapy: clinical and scientific rationales and models 493
Shannon de l’Etoile
47 Clinical practice in music therapy 503
Corene Hurt-Thaut
48 Research and evaluation in music therapy 515
Barbara L. Wheeler
49 Music therapy in medical and neurological rehabilitation settings 526
Anne Kathrin Leins, Ralph Spintge and Michael Thaut
Part 11 Conceptual frameworks, research methods and future directions 537
Edited by Susan Hallam, Ian Cross and Michael Thaut
50 Beyond music psychology 539
Adam Ockelford
51 History and research 552
Michael Thaut
52 Where now? 561
Susan Hallam, Ian Cross and Michael Thaut
La Interpretación musical
Índice
Los autores
Prefacio
Primera parte: Conceptos y preconceptos
1. La interpretación a través de la historia, por COUN LAWSON
2. La interpretación histórica y el intérprete moderno, por PETERWALLS
3. Análisis y (¿o?) interpretación, por JOHN RINK
4. Comprender la psicología de la interpretación, por ERICCLARKE
Segunda parte: Aprender a interpretar
5. Sobre la enseñanza de la interpretación, por JANETRITTERMAN
6. El desarrollo de la habilidad interpretativa, por JANEDAVIDSON
7. Preparándose para interpretar, por STEFANREID
8. La memorización de la música, por AARONWILLIAMON
Tercera parte: Hacer música
9. De la partitura al sonido, por PETERHILL
10. El lenguaje del cuerpo durante la interpretación, por JANEDAVIDSON
11. La interpretación en grupo, por ELAINEGOODMAN
12. El miedo escénico, por EUZABETHVALENTINE
Cuartaparte:Interpretar lainterpretación.
13. Escuchar la interpretación, por ERICCLARKE
14. El legado de las grabaciones, por PETER]OHNSON
15. La crítica de la interpretación musical, por RAYMONDMONELLE
16. Los intérpretes y la interpretación, por ]ONATHANDUNSBY
índice analítico
EXPLORING THE MUSICAL MIND
cognition, emotion, ability, function
Oxford University Press 2005
CONTENTS
Permissions xxvii
A Cognitive processes
1 The psychology of music readingStructural cues within notation
The role of musical knowledge in reading
Teaching music reading
2 Experimental studies of music reading: a review
Review of early reading research
Experiments varying skill level and structure in text
Expressive sight-reading
3 The uses of space in music notation
Comparison of text and music notations
Historical trends in notation development
Conceptual issues in the design of notation
Psychological issues in the design of notation
4 Immediate recall of melodies
Problems of transcription from sung performance
Analysis of errors in sung recall
Memory representations for melodies
5 Cognition and real music: the psychology of music comes of age
Nature of scientific paradigms
Is music psychology paradigmatic?
The contribution of Lerdahl and Jackendoff
6 Psychological structures in music: core research 1980-1990
Citation as a means of assessing significance of research
The contribution of Krumhansl
Establishing a sense of tonal centre
Hierarchies in tonal representation
7 Review of Language Music, and Mind by Diana Raffman
The relationship of philosophy of music to psychology of music
Nuance and ineffability in music
Different ways in which music might be said to have 'meaning'
8 Does music mean anything?
Is parsing sufficient for understanding in music?
Dynamic feelings as precursors of meaning
'Thrills' as proto-emotions concerns
B Emotion and motivation
9 Music as a language
Musical phonology, syntax, and semantics
Peak musical experiences in childhood
Motivation for long-term commitment to music
10 Music psychology and the composer
Different models for composer-psychologist dialogue
Relationship of composition to functions of music
Music as an aid to cognitive restructuring
11 Empirical studies of emotional response to music
Free verbal emotional responses to music
Verbal responses within forced categories
Extrinsic and intrinsic antecedents of musical emotion
12 Emotional response to music: a review
Accounting for variation between and within people
Methods for measuring emotional response
How musical events elicit emotion
13 Musical performance and emotion: issues and developments
Different expressive roles of performers
Connection between music structure and expressive devices
Evidence for deliberate planning of expressive communication
C Talent and skill development
14 Musical expertise
Social and cultural relativity of musical expertise
Musical skill acquisition in non-instructional settings
Precursors of musical expertis
15 Musical ability
Cultural exposure as a primary source of basic ability
Expressive playing in sight-reading as a strong test of ability
How to develop technical and expressive skill togethe
16 The acquisition of musical performance expertise: deconstructing the talent' account of individual differences in musical expressivity
Is musical skill inherited?
The role of practice
Different learning mechanisms for technical and expressive skill
17 Are some children more gifted for music than others?
The role of early learning in skill development
Social support mechanisms for skill development
Motivational factors predicting success or dropout
D Music in the real world
18 Everyday uses of music listening: a preliminary study
Importance of situation and volition in determining effects of music
Free verbal descriptions of music's role in everyday life
Music in public places
19 Music: where cognition and emotion meet
Mismatch between music's value to people and their level of musical skill
Tracking everyday uses of music in real time
Societal barriers to engagement with music
20 Music and worship: a psychologist's perspective
Can music have assumed common effects within a defined situation?
Parallels between different ways of listening to music and different aspects of worship
Ineffability as a core concept in both music and worship
21 Emotion, functionality, and the everyday experience of music: where does music education fit?
Reasons why young adolescents give up instrumental engagement
Cultural trends associated with disengagement from formal music
Responses of the education system to cultural change
22 The 'sound of music' versus the 'essence of music': dilemmas for music-emotion researchers
Cultural trends which deindividriate the musical experience
How science can be misused in the interests of cultural homogenization of the musical experience
Research which demonstrates the strong contribution of the individual to the nature of the musical experience
23 Assessing music psychology research: values, priorities, and outcomes
The social benefits of music psychology research psychology
Differentiating the above from the social benefits of music
Differing levels of engagement with social issues evident in research
Bibliography
Index
MUSICAL EXCELLENCE
Strategies and techniques to enhance performance
Edited by Aaron Williamond
Oxford University Press 2004
CONTENTS
Contributors page xi
Part I Prospects and limits
1 A guide to enhancing musical performance
Aaron Williamon
2 Genera! perspectives on achieving musical excellence
Roger Chaffin and Anthony F. Lemieux
3 Managing the physical demands of musical performance
Christopher B. Wynn Parry
4 Measuring performance enhancement in music
Gary E. McPherson and Emery Schubert
Part II Practice strategies
5 Strategies for individual practice
Harald Jorgensen
6 Strategies for ensemble practice
Jane W Davidson and Elaine C. King
7 Strategies for memorizing music
Jane Ginsborg
8 Strategies for sight-reading and improvising music
Sam Thompson and Andreas C. Lehmann
Part III Techniques and interventions
9 Physical fitness
Adrian H. Taylor and David Wasley
10 Alexander technique
12 Mental skills training
Christopher Connolly and Aaron Williamon
13 Feedback learning of musical expressivity
Patrik N. Juslin, Anders Friberg, Erwin Schoonderwaldt, and Jessika Karlsson
14 Drugs and musical performance
Robert West
Epilogue: A note on future directions for enhancing musical performance
Aaron Williamon
Index
The Cognitive Neuroscience of Music
edited by Edited by Isabelle Peretz and Robert J. Zatorre
Oxford University Press 2003
Contents
Preface
Part I: The origins of music
1 Sandra E. Trehub: Musical predisposition in infancy: an update
2 Carolyn Drake and Daisy Bertrand: The quest for universals in temporal processing in music
3 Jenny R. Saffran, Michael Loman, and Rachel Robertson: Mechanisms of musical memory in infancy
4 Ian Cross: Music, cognition, culture, and evolution
5 David Huron: Is music an evolutionary adaptation?
Part II: The musical mind
6 Stephen McAdams and Daniel Matzkin: The roots of musical variation in perceptual similarity and invariance
7 Carol L. Krumhansl and Petri Toivainen: Tonal cognition
8 Barbara Tillmann, Jamshed J. Barucha, and Emmanuel Bigand: Learning and perceiving musical structures: further insights from artificial neural networks
Part III: The neurons of music
9 Mark Tramo: Neurobiology of harmony perception
10 Catherine Liegeois-Chauvel, Kimberly Giraud, Jean-Michel Badier, Patrick Marquis, and Patrick Chauvel: Intracerebral evoked potentials in pitch perception reveal a functional asymmetry of human auditory cortex
11 Timothy D. Griffiths: The neural processing of complex sounds
Part IV: Musical brain substrates
12 John C.M. Brust: Music and the neurologist: an historical perspective
13 Isabelle Peretz: Brain specialization for music: new evidence from congenital amusia
14 Severine Samson: Cerebral substrates for musical temporal processes
15 Andrea R. Halpern: Cerebral substrates of musical imagery
16 Robert J. Zatorre: Neural specializations for tonal processing
17 Lawrence M. Parsons: Exploring the functional neuroanatomy of music performance, perception, and comprehension
18 Mireille Besson and Daniele Schon: Comparison between language and music
19 Mari Tervaniemi: Musical sound processing: EEG and MEG evidence
20 Laurel Trainor: Frontal EEG responses as a function of affective musical features
21 Aniruddh D. Patel and Evan Balaban: Cortical dynamics and the perception of tone sequence structure
22 Eckart O. Altenmuller: How many music centres are in the brain
Part V: Musical brain/brain plasticity
23 Joseph P. Rauschecker: Functional organization and plasticity of auditory cortex
24 Gottfried Schlaug and Chi Chen: The brain of musicians
25 C. Pantev, A. Engelien, Candia, and T. Elbert: Representational cortex in musicians
26 Alvaro Pascual-Leone: The brain that makes music and is changed by it
Part VI: Relation of music to other cognitive domains
27 Fred Lerdahl: The sounds of poetry viewed as music
28 Glenn Shellenberg: Does exposure to music have beneficial side effects?
The Science and Psychology of Music Performance 2002 Oxford University Press
Creative Strategies for Teaching and Learning
Contents
Part 1: The Developing Musician
1 Music Potential
2 Environmental Influences
3 Motivation
4 Performance Anxiety
5 Brain Mechanisms
6 Music MedicinePart 2: Subskills of Music Performance
7 From Sound to Sign
8 Improvisation
9 Sight-Reading
10 Practice
11 Memory
12 Intonation
13 Structural Communication
14 Emotional Communication
15 Body MovementPart 3: Instruments and Ensembles
16 Solo Voice
17 Choir
18 Piano
19 String Instruments
20 Wind Instruments
21 Rehearsing and Conducting
THE PSYCHOLOGY OF MUSIC
edited by Diana Deutch
1982, By ACADEMIC PRESS, INC.
ISBN 0-12-213560-1 AACR2
Contents
List of Contributors xi
Preface xiii
1. The Perception of Musical Ton
R. A. Rasch and R. Plomp
The Psychoacoustics of Music
Perceptual Attributes of Single Tones
Perceptual Attributes of Simultaneous Tones
Conclusion
References
2. Exploration of Timbre by Analysis and Synthesis
Jean-Claude Risset and David L. Wessel
Timbre
Timbre and the Fourier Spectrum: The Classical View
The Shortcomings of the Classical Conception
Attack Transients
Complexity of Sounds: Importance of Characteristic Features
Instrumental and Vocal Timbres: Additive Synthesis
Cross Synthesis and Voice Synthesis
Additive Synthesis: Percussion Instruments
Substractive Synthesis
Acoustic Modeling as a Synthesis Technique
The Importance of Context
Analysis-Synthesis as Fitting Acoustic and Perceptual Models to Data
The Use of Analysis-Synthesis Models of Timbre
Timbral Space
Conclusion
Appendix: Signal Representations and Analysis-Synthesis Processes
references
3. Perception of Singing
Johan Sundberg
Introduction
Function of the Voice
Resonatory Aspects
Phonation
Vibrato
Pitch Accuracy in Singing Practice
Phrasing and Emotion
Concluding Remarks
References
4. Grouping Mechanisms in Music
Diana Deutsch
Introduction
Grouping Principles
Two-Channel Listening to Melodic Sequences
Channeling of Rapid Sequences of Single Tones
Voluntary Attention
Conclusion
References
5. The Listener and the Acoustic Environment
R. A. Rasch and R. Plomp
Introduction
Methodology
Level Effects of Indirect Sound: Loudness
Temporal Effects of Indirect Sound: Definition
Spatial Effects of Indirect Sound: Spaciousness
The Compromise between Definition and Spaciousness
Conclusion
References
6. Rhythm and Tempo
Paul Fraisse
Definitions
Rhythm and Spontaneous Tempo
Rhythmic Forms
The Perception of Musical Rhythms
Conclusion
References
7. Timing by Skilled Musicians
Saul Sternberg, Ronald L. Knoll, and Paul Zukofsky
Perception, Production, and Imitation of Fractions of the Beat
Perceptual judgment of Beat Fractions
Production of Beat Fractions
Imitation of Beat Fractions
A Shared-Process Model of the Perception, Production, and Imitation of Beat Fractions
Further Analysis of Perceptual judgment
Further Analysis of Production
Summary
Glossary
Appendix
References
8. Intervals, Scales, and Tuning
Edward M. Burns and W. Dixon Ward
Introduction
Are Scales Necessary?
Musical Interval Perception
Natural Intervals and Scales
Conclusions and Caveats
References
9. The Processing of Pitch Combinations
Diana Deutsch
Introduction
Feature Abstraction
Higher Order Abstractions
Alphabets and Hierarchies
Memory Systems
Conclusions
References
10. Melodic Processes and the Perception of Music
Burton S. Rosner and Leonard B. Meyer
The Perception and Classification of Two Archetypal Melodic Processes
Experimental Findings
Implications
References
11. Structural Representations of Musical Pitch
Roger N. Shepard
Introduction
Unidimensional Approaches to Pitch
Potentially Multidimensional Approaches to Pitch
The Spatial Representation of Pitch
Illustrative Analyses of Empirical Data
Discussion
References
12. Musical Ability
Rosamund Shuter-Dyson
Concepts of Musical Ability
Correlational and Factorial Studies of Musical Ability
Musical Ability and Other Intellectual Abilities
References
13. Melodic Information Processing and Its Development
W. Jay Dowling
Introduction
Development
Adult Memory
Contour versus Interval
Summary
References
14. Absolute Pitch
W. Dixon Ward and Edward M. Burns
Introduction
Genesis of AP
Measurement of AP
Stability of the Internal Standard
Learning AP
The Value of AP
References
15. Neurological Aspects of Music Perception and Performance
Oscar S. M. Marin
Amusia
Auditory Agnosia and Verbal Deafness
General Comments
References
16. Music Performance
John A. Sloboda
Introduction
The Nature of Performance Plans
Acquisition of Performance Plans
The Role of Feedback in Performance
Social Factors in Performance
Summary
References
17. Social Interaction and Musical Preference
Vladimir J. Konecni
Introduction
Effects of Social Stimulation on Aesthetic Choice
Effects of Information Load and Arousing Nonsocial Stimulation on Aesthetic Choice
Effects of Listening to Melodies Differing in Complexity on Emotional States and Social Behavior
Listeners' Sequencing and "Chunking" of Musical Materials and the Use of Music for Mood Optimization
References
18. New Music and Psychology
Robert Erickson
Introduction
Music Theory and Music
Understanding Tonality
Music and Perceptual Streaming
Fused Sounds in Music
Music Theory and Experimental Science
References
THE MUSICAL MIND
The Cognitive Psychology of Music
Oxford University Press 1985/2000
Contents
1. MUSIC AS A COGNITIVE SKILL
2. MUSIC, LANGUAGE, AND MEANING
Introduction
Chomsky and Schenker
Other comparisons between language and music
Musical phonology
Musical syntax
Musical semantics
Conclusions
3. THE PERFORMANCE OF MUSIC
Introduction
Sight reading
Rehearsal
Expert performance
4. COMPOSITION AND IMPROVISATION
Introduction
Manuscript evidence
Composers' writings on their own compositional process
Observations of composers at work
Improvisation
5. LISTENING TO MUSIC
Introduction
Natural hearing': primitive grouping mechanisms in music
Attention in music listening
Memory in music listening
6. MUSICAL LEARNING AND DEVELOPMENT
Introduction
Musical enculturation
Training and skill acquisition
Assessing musical ability
7. THE MUSICAL MIND IN CONTEXT: CULTURE AND BIOLOGY
Introduction
Culture and musical thinking
Biology and musical thinking
REFERENCES
INDEXES
MUSICAL PERCEPTION
edited by RITA AIELLO with JOHN A. SLOBODA
OXFORD UNIVERSITY PRESS 1994
CONTENTS
Contributors
PHILOSOPHICAL PERSPECTIVES
1. Emotion and Meaning in Music
Leonard B. Meyer
2. Music and Language: Parallels and Contrasts
Rita Aiello
3. Perception: A Perspective from Music Theory
Nicholas Cook
DEVELOPMENTAL PERSPECTIVES
4. Songsinging by Young and Old: A Developmental Approach to Music
Lyle Davidson
5. Coming to Hear in a New Way
Jeanne Bamberger
6. Music Performance: Expression and the Development of Excellence
John A. Sloboda
THE PERCEPTION OF MELODY, TONALITY RHYTHM AND TIMING
7. Melodic Contour in Hearing and Remembering Melodies
W. Jay Dowling
8. Describing the Mental Representation of Tonality in Music
David Butler and Helen Brown
9. Tonality and Expectation
Jamshed J. Bharucha
10. Perception, Production, and Imitation of Time Ratios by Skilled Musicians
Saul Sternberg and Ronald L. Knoll
11. The Interpretive Component in Musical Performance
L. H. Shaffer and Neil P. McAngus Todd
THE PERCEPTION OF MUSICAL COMPOSITIONS
12. Can Listening to Music Be Experimentally Studied?
Rita Aiello
Author Index
Subject Index
GENERATIVE PROCESSES IN MUSIC
The Psychology of Performance, Improvisation, and Composition
Edited by John A. Sloboda (Department of Psychology University of Keele)
CLARENDON PRESS OXFORD 2000 (1988)
Contents
List of contributors
Generative principles in music performance
Eric F. Clarke
2. Timing in music performance and its relations to music experience
Alf Gabrielsson
3. Computer synthesis of music performance
Johan Sundberg
4. Timing and synchronisation in ensemble performance
Rudolf A. Rasch
5. Rehearsal skill and musical competence: does practice make perfect?
Linda M. Gruson
6. Tonal structure and children's early learning of music
W. Jay Dowling
7. Improvisation: methods and models
Jeff Pressing
8. Experimental research into musical generative ability
Maria Sagi and Ivan Vitanyi
9. Young children's musical representations: windows on music cognition
Lyle Davidson and Lawrence Scripp
10. Cognitive constraints on compositional systems
Fred Lerdahl
11. From collections to structure: the developmental path of tonal thinking
Lyle Davidson and Patricia Welsh 260
Appendix: Examples 8. 11-8.18
Author index
Subject index
La inteligencia hábil
El desarrollo de las capacidades cognitivas
Angus Gellatly (compilador)
Aique 1997 (1986) ISBN: 950-701-377-6
1 La naturaleza de las habilidades
Cognición y psicología
¿Qué es una habilidad?
La adqusición de la habilidad
La lectura: un estudio de caso de habilidades cognitivas.
2 Habilidades de la memoria
La naturaleza de la memoria.
Adquisición de habilidades de la memoria
Habilidades memorísticas excepcionales
¿Cómo pueden mejorarse las habilidades memorísticas?
3 Habilidades de la comunicación y la comprensión
Las habilidades del hablante
Habilidades del oyente
Habilidades sociales
¿cómo mejorar las habilidades de aprendizaje?
4 Pensamiento y habilidades
La habilidad en el razonamiento
La resolución de problemas
La creatividad y las habilidades cognitivas
Las computadoras y la cognición.
MUSIC AND EMOTION
Theory and research
OXFORD UNIVERSITY PRESS 2001
Edited by PATRIK N. JUSLIN, Uppsala University, Sweden and JOHN A. SLOBODA
University of Keele, UK OXFORD UNIVERSITY PRESS
CONTENTS
List of contributors
Acknowledgments
Foreword
Introduction
1 Music and emotion: introduction
Patrik N. Juslin and John A. Sloboda
Multidisciplinary Perspectives
2 Philosophical perspectives on music's expressiveness
Stephen Davies
3 Musicological approaches to emotion
Nicholas Cook and Nicola Dibben
4 Psychological perspectives on music and emotion
John A. Sloboda and Patrik N. Juslin
5 Listen to the brain: a biological perspective on musical emotions
Isabelle Peretz
6 Anthropological perspectives on music and emotion
Judith Becker
7 Aesthetic agency and musical practice: new directions in the sociology of music end emotion
Tia DeNora
8 Music and emotion: perspectives from music therapy
Leslie Bunt and Mercedes Pavlicevic
The Composer
9 Emotion and composition in ical music: historiometric perspectives
Dean Keith Simonton
10 The influence of musical structure on emotional expression
Alf Gabrielsson and Erik Lindstrom
11 Music as a source of emotion in film
Annabel J. Cohen
The Performer
12 The subjective world of the performer
Roland S. Persson
13 Negative emotions in music making: the problem of performance anxiety
Andrew Steptoe
14 Communicating emotion in music performance: a review and a theoretical framework
Patrik N. Juslin
The Listener
15 Music and emotion: distinctions and uncertainties
Leonard B. Meyer
16 Emotional effects of music: production rules
Klaus R. Scherer and Marcel R. Zentner
17 Continuous measurement of self-report emotional response to music
Emery Schubert
18 Emotions in everyday listening to music
John A. Sloboda and Susan A. O'Neill
19 Emotions in strong experiences with music
Alf Gabrielsson
Postlude
20 Music and emotion: commentary
John A. Sloboda and Patrik N. Juslin
Author index
Subject index
De cómo su uso configura el cerebro, el lenguaje y la cultura humana
Título original: The Hand How Its Use Shapes the Brain, Language and Human Culture ©1998 by Frank R. Wilson
Tusquets Editores, S.A. Septiembre 2002
ISBN: 84-8310-828-3
Music, Motor Control and the Brain 2006 Oxford University Press
Part 1: History
1. Historical increases in expert music performance skills: optimising instruments, playing techniques and training , Andreas C. Lehmann
Part 2: Psychology
2. From cognition to action , Lutz Jäncke
3. The nature of memory for music performance skills , Caroline Palmer
4. Musical synchronization , Bruno ReppPart 3: Movement analysis
5. Hand movements and musical performance , Thomas E. Jerde, Marco Santello, Martha Flanders & John F. Soechting
6. Movement analysis in pianists , Hans-Christian Jabusch
7. Fingering and bowing in violinists , Mario Wiesendanger, Andreas Baader & Oleg Kazennikov
8. Movements and analysis of drumming , Sofia DahlPart 4: Representation in the Brain
9. Brain structures of musicians: executive functions and morphological implications , Gottfried Schlaug
10. The motor representation in pianists and string players , Lutz Jäncke
11. Brain activation during piano playing , Marc Bangert
12. Brain activation during string playing , Arto Nirkko & Rumyana Kristeva
13. 'Singing in the (b)rain': cerebral correlates of vocal music performance in humans , Hermann Ackermann, Dirk Wildgruber & Axel Riecker
14. Sensory-motor networks in singing and speaking: a comparative approach , Reyna Leigh Gordon, Amelie Racette & Daniele Schon
15. Role of inhibition in motor control of finger functions , Christian Gerloff & Friedhelm HummelPart 5: Apollo's curse - the loss of motor control in musicians
16. The end of the song? Robert Schumann's focal dystonia , Eckart Altenmüeller
17. Epidemiology, phenomenology and therapy of musician's cramp , Hans-Christian Jabusch & Eckart Altenmüeller
18. The neurophysiology of focal hand dystonia in musicians , Karin Rosenkranz
19. The development of focal dystonia in musicians as a consequence of maladaptive plasticity: implications for intervention , Nancy Byl & Alberto Priori
20. Music performance anxiety , Jurg Kesselring